Volume 8 Number 1 Srping issue
Poetry and/on Television: Drinking for England (BBC, 1998) by Amy Holdsworth
This essay employs Drinking for England as a way of exploring the relationship between poetry and/on television. Whilst paying attention to the use of rhymes, refrains and repetitions that illuminate the structural similarities between poetry and television, and point towards a potential poetics of television, it argues how instances of poetry on television also reveal what we might refer to, in the spirit of the ‘refreshed perception’ offered by intermedial artworks, as a ‘productive awkwardness’; a self-consciousness that plays in the spaces in between word and image and the shifting modes of performance and language.
This article explores the presence of imported US teen TV in the schedules of British youth television and the relationship between the two national forms. Focusing on the broadcast of The O.C. on the Channel 4 youth strand T4, it considers the role of the spaces ‘in-between’ programmes in framing the audience’s experience of the imported US text. It demonstrates how the T4 supertext employed presenter performance, critique and parody to assimilate the glamorously aspirational US Teen TV text into the cynically engaged flow of British youth television.
National Identity and the Representation of Palestinian Arab Women's ‘Otherness’ in Reality Shows on Israeli Commercial Television by Amit Lavie-Dinur and Yuval Karniel
Reality TV has led to the emergence of new representations and stereotypes. In featuring ordinary people in ‘unscripted’ situations, such shows resonate deeply with current ideas of identity and social relations. Yet, existing studies show that such representations are often one-dimensional and stereotyped. Adding to such work, this article explores the representation of the Palestinian Arab woman citizen of Israel in five reality TV programmes, in order to understand the patterns of representation of their status as ‘Other’ in Israeli society. Our aim is to address the following questions: how are Palestinian Arab women represented on Israeli reality TV? How are these specific types negotiated on a multiple of levels?
This article examines the media coverage of two recent high profile instances of older women sacked from their screen roles on British factual television: Arlene Phillips (Strictly Come Dancing, 2004-present) and Miriam O’Reilly (Countryfile, 1988-present). It argues that the popularisation of the medium as ‘feminised’ has worked to obscure the ways that it has not been representative of women, here examining British TV’s enduring exclusion of older women from the realms of factual television. My analysis of the media response to the Phillips and O’Reilly cases traces a snapshot of the current media climate which suggests the time may be ripe for change with respect to the visibility of older women. However, the tangible, on-screen impact of this period of deliberation remains marginal, which might suggest that, as yet, its cultural function has been more akin to inoculation than the instigation of identifiable institutional change.
Dossier: Dennis Potter in America by David Bianculli
Compiled by a veteran U.S. television critic, this dossier examines Dennis Potter from an American perspective—how and when the US slowly became aware of Potter and his works, how they were televised, and how, in 1992, Potter reacted when he visited New York for a retrospective of his work. Contents include primary interviews with Potter and his frequent producer, Kenith Trodd, and excerpts from Potter’s revealed, sometimes combative seminars at the broadcast museum salute to his work.
In Debate: Cowboys or Indies? 30 years of the Television and Digital Independent Public Service Production Sector Introduced and Edited by James Bennett, Paul Kerr and Niki Strange
In Debate contains papers presented at the Cowboys or Indies Conference held at BFI South Bank on 20 September 2012, which marked the end of a two-year AHRC research project into Multiplatforming Public Service, and coincided with the thirtieth anniversary of Channel 4.
Critical Studies in Television publishes articles that draw together divergent disciplines and different ways of thinking, to promote and advance television as a distinct academic discipline. It welcomes contributions on any aspect of television—production studies and institutional histories, audience and reception studies, theoretical approaches, conceptual paradigms and pedagogical questions. It continues to invite analyses of the compositional principles and aesthetics of texts, as well as contextual matters relating to both contemporary and past productions. CST also features book reviews, dossiers and debates. The journal is scholarly but accessible, dedicated to generating new knowledge and fostering a dynamic intellectual platform for television studies.
For more information on Critical Studies in Television, including submission guidelines and subscription recommendations, please see the journals website: http://www.manchesteruniversitypress.co.uk/cgi-bin/scribe?showinfo=ip013
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James Bennett is Reader in Television Studies at Royal Holloway, University of London. He is the author of Multiplatforming PSB: The Economic and Cultural Role of UK Digital and Television Independents (with Niki Strange, Paul Kerr and Andrea Medrado). His work focuses on the convergence of television and digital media production, cultures and aesthetics. He is the editor (with Niki Strange) of Television as Digital Media (2011).
David Bianculli is Associate Professor at Rowan University, teaching TV and film history. He is TV critic for National Public Radio’s Fresh Air with Terry Gross, editor and columnist for the website TV Worth Watching, and author of Teleliteracy: Taking Television Seriously(1992), Dictionary of Teleliteracy: Television’s 500 Biggest Hits, Misses, and Events (1996) and Dangerously Funny: The Uncensored Story of ‘The Smothers Brothers Comedy Hour’(2009). He has been a published TV critic since 1975, with his work appearing in hundreds of newspapers and publications, including TV Guide, London Independent, The Week, The New York Times Book Review, Rolling Stone, Variety, Boston Phoenix, Film Comment, Washington Journalism Review, Channels of Communication, Television Quarterly, Electronic Media, and Broadcasting & Cable.
Andrew Chitty is responsible for the strategic direction of the Illumina Digital and for the presentation of the company to key clients and partners and in industry and stakeholder forums. Andrew is a Board member of TRC Media in Glasgow (formerly The Research Centre) and a past board member of Skillset. He is currently Chair of the National Skills Council for Digital Media and an advisor on the creative industries to the Technology Strategy Board.
Jessica Cox is Lecturer in English at Brunel University. Her research interests include adaptation, Neo-Victorianism, sensation fiction and the Brontës. She is the author of a number of articles on literary and screen adaptations of nineteenth-century novels, editor ofNew Perspectives on Mary Elizabeth Braddon (2012) and co-editor of the six-volume anthology Women and Belief, 1852-1928 (2012). She is currently working on a book on Neo-Sensation fiction.
John Ellis is Professor of Media Arts at Royal Holloway, University of London. He is the author of Documentary: Witness & Self Revelation (2011), Seeing Things (2000) and Visible Fictions (1982). From 1982 to 1999 he ran Large Door Productions making documentaries for British TV on a diversity of subjects from world cinema to an investigation into the food industry. For several years he was vice-chair of PACT, the producers’ trade organisation.
Alex Graham is CEO of Wall to Wall. Over 20 years, Alex has been involved in creating and executive producing a wide range of hit television programmes, including The 1900 Houseand Who Do You Think You Are? He is chair of the Sheffield International Documentary Festival and former chair of the Producers’ Alliance for Cinema and Television (PACT) and now sits on their Patrons’ Group. He is a fellow of the Royal Television Society and the Royal Society of Arts, visiting professor of television at Lincoln University and, in 2009, received an honorary doctorate from City University for services to journalism.
Amy Holdsworth is Lecturer in Film and Television Studies at the University of Glasgow. She is the author of Television, Memory and Nostalgia (2011) and has contributed articles toScreen, Cinema Journal and the Journal of British Cinema and Television.
Deborah Jermyn is Reader in Film and Television at Roehampton University and the author of books including Sex and the City (2009) and Prime Suspect (2010). In 2012 she was guest editor of a special edition of the journal Celebrity Studies on ageing and female celebrity, shortly to be republished as a book entitled Female Celebrity and Ageing: Back in the Spotlight (forthcoming Routledge, 2013).
Yuval Karniel is Senior Lecturer at the Sammy Ofer School of Communications, at the Interdisciplinary Center, in Herzliya. His research focuses on media law, political communication, media ethics, minorities in popular texts and privacy on new media. He was a board member of the Israel Broadcasting Authority (IBA) and chair of the IBA ethics committee. He was the general counsel of Israel’s commercial television and radio authority and served on many public committees.
Paul Kerr is Senior Lecturer in Broadcast Media at London Metropolitan University. He is the author and editor of MTM: Quality Television (1984), The Hollywood Film Industry (1986) and The Crimean War (2000). His career spans academia and television production, having spent 20 years in the independent television sector specialising in major series about the media—Open The Box (1986), The Media Show (1987-90) and the award-winning cinema series, Moving Pictures (1990-96).
Amit Lavie-Dinur is Vice-Dean and Head of Visual Content Studies at the Sammy Ofer School of Communications, Interdisciplinary Center in Herzliya. Her research focuses on propaganda and persuasion in television and new media, popular culture and cultural aspects of advertising, privacy and reality TV. She was an executive member of the Israel Film Council and served as a selector for the New Israel Foundation for Cinema and TV.
Mandy Merck is Professor of Media Arts at Royal Holloway, University of London. She is the author of Perversions: Deviant Readings (1993), In Your Face: Nine Sexual Studies(2000), Hollywood’s American Tragedies (2007). Her edited collections include After Diana(1998), Coming Out of Feminism? (co-edited with Naomi Segal and Elizabeth Wright, 1998). Her next book is provisionally titled The Melodrama of Celebrity: Personal Worth and Public Attention.
Herbert Schwaab is Lecturer in Media Studies at the University of Regensburg. He holds a PhD from the Department of Media Studies at the Ruhr-University Bochum with a study on the film philosophy of Stanley Cavell. His has published on popular film and television, sitcoms and heavy metal. He is currently co-editing a collection of essays on Lost and its relationship with media culture.
Niki Strange is the founder of Strange Digital, a company providing research and strategy consulting for creative businesses and the culture, education and public sectors. She is the editor (with James Bennett) of Television as Digital Media (2011) and a Research Fellow at the University of Sussex.
Jeanette Steemers is Professor of Media and Communications at University of Westminster. She is author of Creating Preschool Television: A Story of Commerce, Creativity and Curriculum (2010) and Selling Television: British Television in the Global Marketplace(2004), co-author of European Television Industries (2005) and co-editor of Media in Europe Today (2011) and Regaining the Initiative for Public Service Media (2012). She is Associate Editor (Europe) for Convergence and also a member of the Euromedia Research Group. She is a Director of the Voice of the Listener and Viewer.
Kim Walden is Senior Lecturer in Film and TV Cultures in the School of Creative Arts in the University of Hertfordshire. Her research interests lie in the evolution of narrative, new media and film culture.
Emma Wakefield is company director and executive producer of Lambent Productions. Emma established Lambent in 1996. Producing award-winning films from Disabled and Looking for Love and Tony – I’ve Lost My Family to groundbreaking series like Gay-Z andKids Behind Bars. Emma continues to build on Lambent’s creative foundations and grow the company.
Elke Weissmann is Reader in Film and Television at Edge Hill University. Her research interests focus on transnational television, in particular the relationship between British and American drama, and on television aesthetics. She is vice-chair of the television studies section of the European Communication Research and Education Association (ECREA).
Darcey West Morris is currently a visiting instructor at Towson University. Her dissertation, entitled ‘The Rise and Fall of Network Branding: A Case Study of Time Warner’, explores cable network branding and promotional strategies in the post-network era. Recent work includes the article ‘The Sex Wars Continue: Hung’s Postfeminist Debate’, a feminist media analysis published in Communication Review.
Faye Woods is Lecturer in Film and Television at the University of Reading. Her research interests include popular music in film and television, youth representations, television industries and gender. She has published on popular music in teen television, reality television and the teen dance film.
John Wyver is a writer and historian of television, and a producer with the media company Illuminations, which he co-founded in 1982. His recent projects with Illuminations include co-producing the BBC Two film of the Royal Shakespeare Company’s Hamlet (2009), with David Tennant, and a Macbeth (2012) with Patrick Stewart. He has written extensively on the history of the arts on British television and he is currently involved in AHRC Research exploring the ways in which theatre plays have been presented in broadcast contexts.
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