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Clark provides fascinating archival data detailing debates within government committees and the BBC about whether to show close-ups of the Queen during the coronation ceremony, or to have television cameras present at all.

Watch Out! Classic Movies with Old-Fashioned Gender Roles

She theorizes that television coverage of the ceremony threatened to reveal the materiality and contingency of the Queen's body, "the gendered flesh of the monarch," thereby threatening the concept of "non-corporeality" which supports the idea of the monarch as governing the "body politic. The broadcast flow in which the coronation was aired in the U. Fred Muggs. Bush administration in March , as an example of the interrelation among American commercial broadcasting practices of scheduling, advertising, and programming on the one hand, and the president's PR campaigns and political strategy on the other.

Watch Out! Classic Movies with Old-Fashioned Gender Roles | Common Sense Media

Joyrich's observations about how many scholars and viewers, especially in the days before DVD sets of programs and on-line streaming, have archived broadcast television by both "planned" or timed tape capture of scheduled programming and accidental or at the moment taping in the midst of on-going flow, initiate a much-need conversation about the role of archives and the nature of archives for the study of television. Do all television archival practices produce "haphazard archives," demonstrating our inability to ever access "everything" that is on or is television?

For all the material frustrations where to store all those videotapes or DVDs? How to lend to and borrow from the collections of others? How to reconcile television's endless flow with a tape or DVD's pre-programmed amount of time for recording? She acknowledges the importance of recent scholarly work on television convergence moving "outside" of the tv box and on television aesthetics "complex television" in a new "golden age" , but also expresses concern that television, as the site of an intersection of inside and outside, aesthetics and politics, communication and commerce, public and private, old and new, continuity and discontinuity, distinction and dispersal, mass and individual, is getting less scholarly attention.

British Cinema in the Fifties: Gender, Genre and the 'New Look' (Communication and Society)

Taken together, the essays in this issue of Journal of e-Media Studies engage broadcast television history through a range of methods: a long duree explores how television culture has situated the visual and gendered presence of black females; specific points of narrative illustrate resistance to suburban housewife subjectivity revealed through the experimental techniques of dream sequences; understanding a popular television genre is expanded through situating the genre within the traditions of related popular entertainment forms; in the male-dominated voice of radio women's programs, masculinity addresses and expresses female subjectivity; the visible and invisible labor of women, royal and commoner, produce the televisual spectacle of a coronation of a queen; and personal VHS archives capture not only the desired object of study but also the ephemera of the show's historical context.

Employing a variety of archival sources and entries into history, these essays shift the field's recent angles of inquiry and illustrate the importance of a continual re-consideration of broadcast media history. There are many discoveries yet to be made. She is author of numerous essays in journals and book collections on film and television history, feminism and media, and star culture.

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She was on the board of Console-ing Passions from She is co-editor of Television, History, and American Culture: Feminist Critical Essays Duke University Press, and the author of many essays on topics such as film and television melodrama, studio-era film promotion, and television history, including studies of programs about suburban family living, private eyes, international spies, and reality television. She is one of the founding members of Console-ing Passions.

Phillips focuses on fourteen American and British directors to tell the story of the Lee Thompson Steve Chibnall - - Limited preview The first to examine the work of a man once hailed as the finest film-maker to emerge from the British studio system after the Second World War, J. Lee Thompson.

Taylor - - Limited preview This book offers an opportunity to reconsider the films of the British New Wave in the light of forty years of heated debate. By eschewing the usual tendency to view films like A Kind of Loving and The Entertainer collectively and include them in Karel Reisz Colin Gardner - - No preview available Czech-born refugee Karel Reisz is widely regarded as one of the seminal figures in post-war British cinema.


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Drawn from the fields of literary, film, music and cultural studies, the essays in this British Film Jim Leach - - Limited preview This book explores British cinema in relation to its social political and cultural contexts. Each chapter deals with a specific topic and includes close readings of key films from different historical periods. Demonstrating the richness and Covers the period from Ealing Studios to Dad's Army. Ships with Tracking Number!

Top 10 British Films That Changed Cinema Forever

May not contain Access Codes or Supplements. May be ex-library. Buy with confidence, excellent customer service!. Bookseller Inventory X. Synopsis: In the fifties British cinema won large audiences with popular war films and comedies, creating stars such as Dirk Bogarde and Kay Kendall, and introducing the stereotypes of war hero, boffin and comic bureaucrat which still help to define images of British national identity.

In British Cinema in the Fifties , Christine Geraghty examines some of the most popular films of this period, exploring the ways in which they approached contemporary social issues such as national identity, the end of empire, new gender roles and the care of children.

tradanermautend.cf Through a series of case studies on films as diverse as It Always Rains on Sunday and Genevieve, Simba and The Wrong Arm of the Law , Geraghty explores some of the key debates about British cinema and film theory, contesting current emphases on contradiction, subversion and excess and exploring the curious mix of rebellion and conformity which marked British cinema in the post-war era.

Book Description Paperback. Condition: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

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Seller Inventory GOR More information about this seller Contact this seller. Add to Basket. Book Description Routledge, Condition: Poor. This book has soft covers. In poor condition, suitable as a reading copy. Seller Inventory Book Description Routledge. Condition: Good. Ex-library, so some stamps and wear, but in good overall condition. Seller Inventory Z1-G