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This widely-respected history of British television drama is an indispensable guide to the significant developments in the area; from its beginnings on the BBC in the 1930s and 40s to its position in the twenty-first century, as television enters a multichannel digital era. Embracing the complete spectrum of television drama, Lez Cooke places programmes in their social, political and industrial contexts, and surveys the key dramas, writers, producers and directors. Thoroughly revised and updated, this second edition includes new images and case studies, new material on British television drama before 1936, an expanded bibliography and a substantial new chapter that explores the renaissance in the quality, variety and social ambition of television drama in Britain since 2002. Comprehensive and accessible, this book will be of value to anyone interested in the rich history of British television and modern drama.
Winner of the CWA Silver Dagger Award, The Dead of Jericho is the fifth novel in Colin Dexter's Oxford-set Inspector Morse series. As portrayed by John Thaw in ITV's Inspector Morse. Morse switched on the gramophone to 'play', and sought to switch his mind away from all the terrestrial troubles. Sometimes, this way, he almost managed to forget. But not tonight . . . Anne Scott's address was scribbled on a crumpled note in the pocket of Morse's smartest suit. As he turned the corner of Canal Street, Jericho, on the afternoon of Wednesday, 3rd October, he hadn't planned a second visit. But he was back later the same day – as the officer in charge of her suicide investigation. Following another local death, Morse is not convinced of Anna’s suspected suicide and begins the search for answers . . . The Dead of Jericho is followed by the sixth book in the detective series, The Riddle of the Third Mile.
This collection is a wide-ranging exploration of contemporary British television drama and its representations of social class. Through early studio-set plays, soap operas and period drama, the volume demonstrates how class provides a bridge across multiple genres and traditions of television drama. The authors trace this thematic emphasis into the present day, offering fascinating new insights into the national conversation around class and identity in Britain today. The chapters engage with a range of topics including authorial explorations of Stephen Poliakoff and Jimmy McGovern, case studies of television performers Maxine Peake and Jimmy Nail, and discussions of the sitcom genre and animation form. This book offers new perspectives on popular British television shows such as Goodnight Sweetheart and Footballers’ Wives, and analysis of more recent series such as Peaky Blinders and This is England.
This pioneering book provides detailed analysis of scenes from nine British television dramas produced between 1954 and 2001. Taking dinner table scenes as a recurring motif, the study analyses changes in televisual style with reference to production practices, technology, aesthetic preferences, and social and institutional change.
Featuring leading scholars of British television drama and noted writers and producers from the television industry, this new edition of British Television Drama evaluates past and present TV fiction since the 1960s, and considers its likely future.
This history of British and American television drama since 1970 charts the increased transnationalisation of the two production systems. From The Forsyte Saga to Roots to Episodes , it highlights the close relationship that drives innovation and quality on both sides of the Atlantic.
The early twenty-first century has seen the emergence of a new style of television drama in Britain that adopts the professional practices and production values of high-end American television while remaining emphatically 'British' in content and outlook. This book analyses eight of these dramas - Spooks, Foyle's War, Hustle, Life on Mars, Ashes to Ashes, Downton Abbey, Sherlock and Broadchurch - which have all proved popular with audiences and in their different ways represent the thematic and formal paradigms of post-millennial drama. James Chapman locates new British drama in its institutional and economic contexts, considers their critical and popular reception, and analyses their social politics in relation to their representations of class, gender and nationhood. He demonstrates how contemporary drama has mobilised both new and residual elements in re-configuring genres such as the spy series, cop show and costume drama for the cultural tastes of modern audiences. And it concludes that television drama has played an integral role in both the economic and the cultural export of 'Britishness'.
Modern British Playwriting: The 1980s equips readers with a fresh assessment of the theatre and principle playwrights and plays from a decade when political and economic forces were changing society dramatically. It offers a broad survey of the context and of the playwrights and companies such as Complicité and DV8 that rose to prominence at this time. Alongside this it provides a detailed examination based on fresh research of four of the most significant playwrights of the era and considers the influence they had on later work. The 1980s volume features a detailed study by four scholars of the work of four of the major playwrights who came to prominence: Howard Barker (by Sarah Goldingay), Jim Cartwright (David Lane), Sarah Daniels (Jane Milling) and Timberlake Wertenbaker (Sara Freeman). Essential for students of Theatre Studies, the series of six decadal volumes provides a critical survey and study of the theatre produced from the 1950s to 2009. Each volume features a critical analysis of the work of four key playwrights besides other theatre work from that decade, together with an extensive commentary on the period. Readers will understand the works in their contexts and be presented with fresh research material and a reassessment from the perspective of the twenty-first century. This is an authoritative and stimulating reassessment of British playwriting in the 1980s.
How can we queerly theorise and understand television? How can the realms of television studies and queer theory be brought together, in a manner beneficial and productive for both? Queer TV: Theories, Histories, Politics is the first book to explore television in all its scope and complexity – its industry, production, texts, audiences, pleasures and politics – in relation to queerness. With contributions from distinguished authors working in film/television studies and the study of gender/sexuality, it offers a unique contribution to both disciplines. An introductory chapter by the editors charts the key debates and issues addressed within the book, followed by three sections, each central to an understanding of the relationships between queerness and television: 'theories and approaches', histories and genres', and 'television itself'. Individual essays examine the relationships between queers, queerness, and television across the multiple sites of production, consumption, reception, interpretation and theorisation, as well as the textual and aesthetic dimensions of television and the televisual. The book crucially moves beyond lesbian and gay textual analyses of specific TV shows that have often focussed on evaluations of positive/negative representations and identities. Rather, the essays in Queer TV theorise not just the queerness in/on television (the production personnel, the representations it offers) but also the queerness of television as a distinct medium.