DOCSLIB.ORG

Researching Cult Media Production Essay

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Researching Cult Media Production Essay UNPACKING THE INDUSTRIAL, CULTURAL AND HISTORICAL CONTEXTS OF DOCTOR WHO'S FAN-PRODUCERS A thesis submitted for the degree of Doctor of Philosophy by Mark Richard Adams College of Business, Arts and Social Sciences Brunel University London 15th August 2016 Contents CONTENTS 2 ABSTRACT 4 ACKNOWLEDGEMENTS 5 INTRODUCTION 6 -CHAPTER ONE- LITERATURE SURVEY: THE FAN/PRODUCER DICHOTOMY & RE-EVALUATING BINARY IDEAS WITHIN FAN STUDIES 11 POACHING, OPPOSITION AND THE CELEBRATION OF FANDOM. 12 FANDOM, CULTURES AND THE FIELDS OF CULTURAL PRODUCTION. 16 CULTURAL CAPITAL. 18 CONVERGENCE CULTURE. 21 POLICING THE BOUNDARIES OF FANDOM. 22 CONFLICTED FANDOM. 24 RE-EVALUATING FAN CONSUMPTION. 29 CAPITALISM, FANDOM & MONOLITHIC INDUSTRIES. 32 CO-OPTION AND FANDOM. 35 FAN-PRODUCERS, FAN STUDIES & FAN NARCISSISM. 36 CONCLUSION. 43 -CHAPTER TWO- METHODOLOGIES 45 DOCTOR WHO IN CONTEXT. 45 CULTURAL CONTEXTS AND NEGOTIATING ETHNOGRAPHY. 48 ARCHIVAL AND HISTORICAL RESEARCH. 53 FANDOM AND FIELD THEORY. 57 -CHAPTER THREE- CONTEXTUALISING THE AUTHOR: DESTABILISING CONCEPTS OF AUTHORSHIP AND AUTHORITY. 61 FROM ARTISANS TO AUTHORS. 62 AUTHORS AND THE CULTURAL SHIFTS IN LEISURE AND READING. 68 RISE OF THE PUBLISHERS. 70 AUTEUR THEORY AND REPEATING HISTORY. 73 COLLABORATIVE AUTHORSHIP IN FICTION AND FILMS. 75 SHOWRUNNERS AND QUALITY TELEVISION. 79 DEATH OF THE AUTHOR. 85 CONCLUSIONS. 89 -CHAPTER FOUR- CONTEXTUALISING THE FAN: AUDIENCE ENGAGEMENTS WITH INDUSTRIES, TEXTS & AUTHORS FROM THE NINETEENTH CENTURY. 91 SCRAPBOOKS AND CULTURAL 'GLEANING': AN ALTERNATIVE TO POACHING? 92 RE-PURPOSING AND ALTERING TEXTS. 93 SCRAPBOOKS AND POACHING. 95 NEW TEXTS FROM OLD. 99 SERIAL FICTION, ADAPTATION AND APPROPRIATION: COPYRIGHT ISSUES IN VICTORIAN NARRATIVES. 103 AUTHOR AND AUDIENCE INTERACTIONS. 106 AUTHORSHIP, FANDOM AND ASIMOV AS EARLY FAN-PRODUCER. 112 -CHAPTER FIVE- COMMERCIAL INTERESTS & THE BBC: PUBLIC SERVICE BROADCASTING, COMMERCIALISATION AND DOCTOR WHO. 116 GENESIS OF THE BBC: THE ORIGINS OF BRITISH PUBLIC SERVICE BROADCASTING. 117 CONTRADICTIONS AND CONFLICTS WITHIN PUBLIC SERVICE BROADCASTING. 120 THE BBC AND MONOLITHIC PERCEPTIONS OF THE MEDIA INDUSTRY. 123 THE CHANGING FACE OF THE BBC. 126 POLITICS AND THE BBC. 128 CONCLUSION. 130 -CHAPTER SIX- THE COMMERCIAL POWER OF THE DALEKS: MERCHANDISING AND MARKETING DOCTOR WHO IN THE 1960'S – A CASE STUDY. 132 THE EARLY EMERGENCE OF BBC MARKETING. 133 REMUNERATION OF THE DALEKS: COPYRIGHT AND MERCHANDISE IN THE ERA OF 'DALEKMANIA'. 136 REPLACEMENT OF THE DALEKS. 138 PUBLIC SERVICE BROADCASTING, COMMERCIALISATION & THE RISE OF BBC ENTERPRISES. 140 CONCLUSION. 143 -CHAPTER SEVEN- FANS IN THE MACHINE: DEVELOPMENTS IN FANDOM AND THE BBC THROUGH THE EIGHTIES AND NINETIES. 145 FANS AND PRODUCERS IN THE SEVENTIES. 145 FANS AND PRODUCERS IN THE EIGHTIES AND BEYOND. 150 FANDOM AND DOCTOR WHO INTO THE NINETIES. 152 THE BBC INTO THE NINETIES. 155 BBC ENTERPRISES AND BBC WORLDWIDE. 157 BRANDING THE BBC IMAGE. 159 THE RETURN OF THE DOCTOR. 166 CONCLUSION. 169 -CHAPTER EIGHT- "THIS INFINITE TEXT": BRANDING AND FAN-PRODUCER IDENTITIES IN THE WORLDS OF NEW WHO. 171 BRANDING, THE MEDIA AND FANDOM. 173 BRANDING AND THE FIELDS OF CULTURAL PRODUCTION. 177 "THE GREAT PREVARICATION" AND BEYOND: FAN-PRODUCERS AND FANS AS CULT AUDIENCE. 179 PRE-TEXTUAL POACHING. 181 RTD VS. THE GRAND MOFF: FAN-PRODUCERS AND CONTROLLING THE BRAND. 185 CONCLUSION: CONFLICT AND CONTROL OF THE NEW WHO BRAND. 191 -CHAPTER NINE- NO MORE AUTHORITY?: EXAMINING THE CONTEXTS AND NARRATIVES OF DOCTOR WHO'S FAN-PRODUCERS. 193 DAVIES'S RHETORIC OF "BASTARDS!" AND "HYSTERIA". 194 FANDOM AND WEB 2.0. 199 POST-OBJECT AND FRACTURED FANDOM. 202 FAN NARRATIVES. 205 FAN PERCEPTIONS OF AUTHORSHIP. 211 FAN-PRODUCERS AND SUPER-FANS. 213 DOCTOR WHO FANDOM: THE NEW ADVENTURES. 217 PAUL CORNELL AS FAN-PRODUCER. 220 CONCLUSION. 226 BIBLIOGRAPHY. 237 Abstract The approach that emphasises the active audience, and the subversive potential of audience encounters with texts, has greatly influenced the study of media fandom which has tended to see media fans, and the cultures they produce, as set in opposition to writers and producers. My thesis challenges this view of the relationships between fans and producers by examining fan-producers in contemporary television. This research challenges the influential theoretical models that see authorship as a major source of social control and thus sees audiences that 'poach' meanings from texts as engaged in rebellion. The approach that perceives fandom as in opposition to the meanings of production falls short in representing the complexity of fan and producer interactions and thus curtails our understanding of these relationships. My thesis moves beyond the untenable opposition between fans and producers and, in doing so, paves the way for an understanding of fan studies more suitable for the contemporary, and still developing, climate of audience interactions. I believe that the practices of fandom demonstrate that consumption and authorship are more closely linked than previous tendencies to divide them would suggest. Previous works have served to both underestimate fandom, as powerless rebels or dupes, or exaggerate its position as a force of political or cultural resistance. My research engages with the contemporary developments within fan culture, and emphasises the importance of deconstructing monolithic ideas of the media industry in order to better understand the influences and pressures placed on the figure of the fan- producer. I argue that the media industries are not as homogeneous as previously implied, and that the fan-producer is forced to negotiate the complex and often conflicting relationships within the worlds of both fandom and official production. Acknowledgements This has not always been an easy journey, with the hard task of researching a myriad of areas coming hand in hand with illness and personal struggles. Reaching the end would not have been possible without the help and support of many people over the last five years. Many thanks must go to my supervisor Milly Williamson who has come along this journey, and been supportive when I have needed it most. Thanks also go to colleagues at Brunel University, who have often provided support, encouragement and a sounding board for ideas and wandering thoughts – Leon Hunt, David Ingram, Julian Petley, Geoff King, Sean Harrington, Sean Holmes, and, without a doubt, Sarah Harman, whose friendship and support has been indispensable. I would also like to acknowledge the help and assistance of the staff at the BBC Written Archive Centre in Reading, who were able to grant access and give advice during my research into the history of the BBC and Doctor Who merchandise. Also, special thanks must go to all those who supported me along the way, and gave advice, encouragement and were generally there when I needed to vent some frustration, as well as those who have supported and encouraged my academic thinking and progression: Claire Hines, Eve Bennett, Wickham Clayton, Xavier Mendik, Sorcha Ni Fhlainn, Thomas Dennett-Cook, Chrissey Harrison, Rich Jeffery, Emma England, Matt Warner, Johnny Walker, Dan Taylor, Bethan Jones, Frazer Lee, and all the rest who I have no doubt forgotten to mention! Most importantly, I wish to thank my family without whose love and support I would have never made it this far. Thanks to my parents, brothers, uncles and in-laws. My wife Amy: thank you for putting up with me as I shut myself away for days on end, and for believing in me even at the times that I did not. Thanks to Chloe, Leon and Aidan for the love, laughter and smiles they have provided on this long journey. 5 Introduction This thesis examines the emergence of the fan-producer in contemporary fan culture, and its particular manifestation in relation to the long running BBC television series, Doctor Who. I come to this subject as a lifelong fan of Doctor Who, and user of numerous internet resources related to the series, although I have only had limited personal experience with organised fandom. My interest in the fan-producers stems not only from how they blur the supposed divide between production and consumption, but also from how they have made this transition. Growing up in the nineties, many of the future fan-producers were familiar names to me, from fan circles, tie-in novels, conventions, magazine articles and even original television series they produced. There was a sense of ownership of Doctor Who by fans who kept the flame alive, and I argue that this fan-led era had an impact on the relaunch of the series, and its subsequent mainstream success. One important aspect that many of the theories and portrayals of fandom have in common is that they illustrate only a part of the bigger picture of the field of fan culture. Fans may be resistant, they may be co-opted, they may be united or divided and they may have power in some cases or be powerless in others. No single definition, or interpretation, can accurately summarise the scope and variety within fan communities, and any attempt to simply view fandom as a utopian force of resistance (Jenkins, 1992) or as an inherently co-opted and controlled part of consumer culture (Gwenllian-Jones, 2003) is constricted by its own decisiveness. Theorists have begun to explore how there are degrees within fandom, and that these can involve conflicts, power struggles and constant shifts in power. I suggest that this is echoed by those within the institution of media production, in the forms of conflicts between writers, producers and those higher up, or even 'sideways', within the complex corporate structures. Thus I argue that the fields of cultural production should be seen less as a conflict between fans and producers, a struggle over the control of culture itself, but as a constant negotiation, and experimentation, into the extents to which each side may use and interact with the other. I intend to build upon previous work that has started to de-construct the monolithic ideas of official production that establishes them as a united, oppressive force in opposition to the more varied fan cultures.
Load more

Recommended publications
  • Connotations 14-01
    Volume 14, Issue 1 February/March ConNotations 2004 The Bi-Monthly Science Fiction, Fantasy & Convention Newszine of the Central Arizona Speculative Fiction Society April Kicks Off with Ursula K Le Featured Inside Guin, Timothy Zahn, Phoenix SF Tube Talk Special Features ComicCon and World Horror All the latest news about Ursala K LeGuin by Lee Whiteside Scienc Fiction TV shows and other April Events by Lee Whiteside By Lee Whiteside The Arizona Book Festival on Saturday, outreach/scifisymp.html and http:// April 3rd, will feature authors Ursula K. Le www.asu.edu/english/events/outreach/ 24 Frames Jinxed, Hexed, or Cursed: Guin, Alan Dean Foster, and Diana leguin.html All the latest Movie News How I Ruined Harlan Ellison’s Gabaldon on the main stage with CASFS The next day is the Seventh Annual by Lee Whiteside Return to Arizona, Part 2 bringing in Timothy Zahn and other local Arizona Book Festival being held from 10 By Shane Shellenbarger authors for autographing and a special am to 5 pm at the Carnegie Center at 1100 Pro Notes block of programming. LeGuin will also be W. Washingtion in central Phoenix. The Waldorf Conference: appearing at ASU on Friday, April 2nd. Featured authors at the book festival are News about locl genre authors and fans Microphones, scripts, and actors The ASU Department of English Ron Carlson, Nancy Farmer, Alan Dean By Shane Shellenbarger Outreach will be hosting two events on Foster, Diana Gabaldon, Ursula K. Le Musical Notes Friday, April 2nd with Ursula K. LeGuin. Guin, Tom McGuane, and U.S. Supreme In Memorium First will be a daylong Symposium on the Court Justice Sandra Day O’Connor.
    [Show full text]
  • Gender and the Quest in British Science Fiction Television CRITICAL EXPLORATIONS in SCIENCE FICTION and FANTASY (A Series Edited by Donald E
    Gender and the Quest in British Science Fiction Television CRITICAL EXPLORATIONS IN SCIENCE FICTION AND FANTASY (a series edited by Donald E. Palumbo and C.W. Sullivan III) 1 Worlds Apart? Dualism and Transgression in Contemporary Female Dystopias (Dunja M. Mohr, 2005) 2 Tolkien and Shakespeare: Essays on Shared Themes and Language (ed. Janet Brennan Croft, 2007) 3 Culture, Identities and Technology in the Star Wars Films: Essays on the Two Trilogies (ed. Carl Silvio, Tony M. Vinci, 2007) 4 The Influence of Star Trek on Television, Film and Culture (ed. Lincoln Geraghty, 2008) 5 Hugo Gernsback and the Century of Science Fiction (Gary Westfahl, 2007) 6 One Earth, One People: The Mythopoeic Fantasy Series of Ursula K. Le Guin, Lloyd Alexander, Madeleine L’Engle and Orson Scott Card (Marek Oziewicz, 2008) 7 The Evolution of Tolkien’s Mythology: A Study of the History of Middle-earth (Elizabeth A. Whittingham, 2008) 8 H. Beam Piper: A Biography (John F. Carr, 2008) 9 Dreams and Nightmares: Science and Technology in Myth and Fiction (Mordecai Roshwald, 2008) 10 Lilith in a New Light: Essays on the George MacDonald Fantasy Novel (ed. Lucas H. Harriman, 2008) 11 Feminist Narrative and the Supernatural: The Function of Fantastic Devices in Seven Recent Novels (Katherine J. Weese, 2008) 12 The Science of Fiction and the Fiction of Science: Collected Essays on SF Storytelling and the Gnostic Imagination (Frank McConnell, ed. Gary Westfahl, 2009) 13 Kim Stanley Robinson Maps the Unimaginable: Critical Essays (ed. William J. Burling, 2009) 14 The Inter-Galactic Playground: A Critical Study of Children’s and Teens’ Science Fiction (Farah Mendlesohn, 2009) 15 Science Fiction from Québec: A Postcolonial Study (Amy J.
    [Show full text]
  • Tom Baker Is Back As the Doctor for the Romance of Crime and the English Way of Death
    WWW.BIGFINISH.COM • NEW AUDIO ADVENTURES GO FOURTH! TOM BAKER IS BACK AS THE DOCTOR FOR THE ROMANCE OF CRIME AND THE ENGLISH WAY OF DEATH ISSUE 71 • JANUARY 2015 WELCOME TO BIG FINISH! We love stories and we make great full-cast audio dramas and audiobooks you can buy on CD and/or download Big Finish… Subscribers get more We love stories. at bigfinish.com! Our audio productions are based on much- If you subscribe, depending on the range you loved TV series like Doctor Who, Dark subscribe to, you get free audiobooks, PDFs Shadows, Blake’s 7, The Avengers and of scripts, extra behind-the-scenes material, a Survivors as well as classic characters such as bonus release, downloadable audio readings of Sherlock Holmes, The Phantom of the Opera new short stories and discounts. and Dorian Gray, plus original creations such as Graceless and The Adventures of Bernice www.bigfinish.com Summerfield. You can access a video guide to the site at We publish a growing number of books (non- www.bigfinish.com/news/v/website-guide-1 fiction, novels and short stories) from new and established authors. WWW.BIGFINISH.COM @BIGFINISH /THEBIGFINISH VORTEX MAGAZINE PAGE 3 Sneak Previews & Whispers Editorial HEN PLANNING ahead for this month’s issue of W Vortex, David Richardson suggested that I might speak to Tom Baker, to preview his new season of adventures, and the Gareth Roberts novel adaptations. That was one of those moments when excitement and fear hit me in equal measure. I mean, this is Tom Baker! TOM BAKER! I was born 11 days after he made his first appearance in Planet of the Spiders, so growing up, he was my Doctor.
    [Show full text]
  • Star Trek" Mary Jo Deegan University of Nebraska-Lincoln, [email protected]
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UNL | Libraries University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sociology Department, Faculty Publications Sociology, Department of 1986 Sexism in Space: The rF eudian Formula in "Star Trek" Mary Jo Deegan University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/sociologyfacpub Part of the Family, Life Course, and Society Commons, and the Social Psychology and Interaction Commons Deegan, Mary Jo, "Sexism in Space: The rF eudian Formula in "Star Trek"" (1986). Sociology Department, Faculty Publications. 368. http://digitalcommons.unl.edu/sociologyfacpub/368 This Article is brought to you for free and open access by the Sociology, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sociology Department, Faculty Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. THIS FILE CONTAINS THE FOLLOWING MATERIALS: Deegan, Mary Jo. 1986. “Sexism in Space: The Freudian Formula in ‘Star Trek.’” Pp. 209-224 in Eros in the Mind’s Eye: Sexuality and the Fantastic in Art and Film, edited by Donald Palumbo. (Contributions to the Study of Science Fiction and Fantasy, No. 21). New York: Greenwood Press. 17 Sexism in Space: The Freudian Formula in IIStar Trek" MARY JO DEEGAN Space, the final frontier. These are the voyages of the starship Enterprise, its five year mission to explore strange new worlds, to seek out new life and new civilizations, to boldly go where no man has gone before. These words, spoken at the beginning of each televised "Star Trek" episode, set the stage for the fan­ tastic future.
    [Show full text]
  • 1 2019 Gally Academic Track Friday, February 15
    2019 Gally Academic Track Friday, February 15, 2019 3:00-3:15 KEYNOTE “The Fandom Hierarchy: Women of Color’s Fight For Visibility In Fandom Spaces” Tai Gooden Women of Color (WoC) have been fervent Doctor Who fans for several decades. However, the fandom often reflects societal hierarchies upheld by White privilege that result in ignoring and diminishing WoC’s opinions, contributions, and legitimate concerns about issues in terms of representation. Additionally, WoC and non-binary (NB) people of color’s voices are not centered as often in journalism, podcasting, and media formats nor convention panels as much as their White counterparts. This noticeable disparity has led to many WoC, even those who are deemed “important” in fandom spaces, to encounter racism, sexism, and, depending on the individual, homophobia and transphobia in a place that is supposed to have open availability to everyone. I can attest to this experience as someone who has a somewhat heightened level of visibility in fandom as a pop culture/entertainment writer who extensively covers Doctor Who. This presentation will examine women of color in the Doctor Who fandom in terms of their interactions with non-POC fans and difficulties obtaining opportunities in media, online, and at conventions. The show’s representation of fandom and the necessity for equity versus equality will also be discussed to craft a better understanding of how to tackle this pervasive issue. Other actionable solutions to encourage intersectionality in the fandom will be discussed including privileged people listening to WoC and non- binary people’s concerns/suggestions, respectfully interacting with them online and in person, recognizing and utilizing their privilege to encourage more inclusivity, standing in solidarity with them on critical issues, and lending their support to WoC creatives.
    [Show full text]
  • Souveneir & Program Book (PDF)
    1 COOMM WWEELLC EE!! NNVVEERRGGEENNCCEE 22001133 TTOO CCOO LCOOM WWEELC MEE!! TO CONVERGENCE 2013 starting Whether this is your fifteenth on page time at CONvergence or your 12, and first, CONvergence aims meet to be one of the best them celebrations of science all over the fiction and fantasy on course of the the planet. And possibly weekend. the universe as well, but Our panels are we’ll have to get back filled with other top to you on that. professionals and This year’s theme is fans talking British Invasion. We’ve about what they always loved British love, even if it is contributions to what they love to science fiction and hate. The conven- fantasy — from tion is more than H.G. Wells to Iain just panel discus- Banks or Hitch- sions — Check hiker’s Guide to out Mr. B. the Harry Potter. It’s Gentleman Rhymer the 50th Anni- (making his North versary of Doctor American debut Who as well (none on our Mainstage), of us have forgot- the crazy projects ten about that) and going on in Con- you’ll see that reflected nie’s Quantum Sand- throughout the conven- box, and a movie in Cinema Rex. tion. Get a drink or a snack in CoF2E2 or We have great Guests of Honor CONsuite, or visit all of our fantastic par- this year, some with connections to the theme and oth- ties around the garden court. Play a game, see some ers that represent the full range of science fiction and anime, and wear a costume if it suits you! fantasy.
    [Show full text]
  • Argentuscon Had Four Panelists Piece, on December 17
    Matthew Appleton Georges Dodds Richard Horton Sheryl Birkhead Howard Andrew Jones Brad Foster Fred Lerner Deb Kosiba James D. Nicoll Rotsler John O’Neill Taral Wayne Mike Resnick Peter Sands Steven H Silver Allen Steele Michael D. Thomas Fred Lerner takes us on a literary journey to Portugal, From the Mine as he prepared for his own journey to the old Roman province of Lusitania. He looks at the writing of two ast year’s issue was published on Christmas Eve. Portuguese authors who are practically unknown to the This year, it looks like I’ll get it out earlier, but not Anglophonic world. L by much since I’m writing this, which is the last And just as the ArgentusCon had four panelists piece, on December 17. discussing a single topic, the first four articles are also on What isn’t in this issue is the mock section. It has the same topic, although the authors tackled them always been the most difficult section to put together and separately (mostly). I asked Rich Horton, John O’Neill, I just couldn’t get enough pieces to Georges Dodds, and Howard Andrew Jones make it happen this issue. All my to compile of list of ten books each that are fault, not the fault of those who sent out of print and should be brought back into me submissions. The mock section print. When I asked, knowing something of may return in the 2008 issue, or it may their proclivities, I had a feeling I’d know not. I have found something else I what types of books would show up, if not think might be its replacement, which the specifics.
    [Show full text]
  • {PDF EPUB} Doctor Who and the Doomsday Weapon by Malcolm Hulke Doctor Who and the Dinosaur Invasion
    Read Ebook {PDF EPUB} Doctor Who and the Doomsday Weapon by Malcolm Hulke Doctor Who and the Dinosaur Invasion. The Doctor and Sarah arrive in London to find it deserted. The city has been evacuated as prehistoric monsters appear in the streets. While the Doctor works to discover who or what is bringing the dinosaurs to London, Sarah finds herself trapped on a spaceship that left Earth months ago travelling to a new world… Against the odds, the Doctor manages to trace the source of the dinosaurs. But will he and the Brigadier be in time to unmask the villains before Operation Golden Age changes the history of planet Earth and wipes out the whole of human civilisation? This novel is based on a Doctor Who story which was originally broadcast from 12 January–16 February 1974. Featuring the Third Doctor as played by Jon Pertwee with his companion Sarah Jane Smith and UNIT. Doctor Who: Invasion Earth! (Classic Novels Box Set) Terrance Dicks. Malcolm Hulke. Doctor Who And The Sea-Devils. Malcolm Hulke. Doctor Who and the Cave Monsters. Malcolm Hulke. Doctor Who And The War Games. Malcolm Hulke. Doctor Who And The Green Death. Malcolm Hulke. Doctor Who And The Silurians (TV Soundtrack) Malcolm Hulke. Doctor Who And The Dinosaur Invasion. Malcolm Hulke. Doctor Who And The Doomsday Weapon. Malcolm Hulke. Doctor Who: The Faceless Ones (TV Soundtrack) David Ellis. Malcolm Hulke. DOCTOR WHO. 101 Books. Malcolm Hulke was a prolific and respected television writer from the 1950s until the 1970s. His writing credits included the early science fiction Pathfinders series, as well as The Avengers.
    [Show full text]
  • Terrance DICKS a Tribute
    Terrance DICKS A tribute FEATURING: Chris achilleos John levene John peel Gary russell And many more Terrance DICKS A tribute CANDY JAR BOOKS . CARDIFF 2019 Contributors: Adrian Salmon, Gary Russell, John Peel, John Levene, Nick Walters, Terry Cooper, Adrian Sherlock, Rick Cross, Chris Achilleos, George Ivanoff, James Middleditch, Jonathan Macho, David A McIntee, Tim Gambrell, Wink Taylor. The right of contributing authors/artists to be identified as the Author/Owner of the Work has been asserted by them in accordance with the Copyright, Designs and Patents Act 1988. Editor: Shaun Russell Editorial: Will Rees Cover by Paul Cowan Published by Candy Jar Books Mackintosh House 136 Newport Road, Cardiff, CF24 1DJ www.candyjarbooks.co.uk All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted at any time or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the copyright holder. This book is sold subject to the condition that it shall not by way of trade or otherwise be circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published. In Memory of Terrance Dicks 14th April 1935 – 29th August 2019 Adrian Salmon Gary Russell He was the first person I ever interviewed on stage at a convention. He was the first “famous” home phone number I was ever given. He was the first person to write to me when I became DWM editor to say congratulations. He was a friend, a fellow grumpy old git, we argued deliciously on a tour of Australian conventions on every panel about the Master/Missy thing.
    [Show full text]
  • Popular Music, Stars and Stardom
    POPULAR MUSIC, STARS AND STARDOM POPULAR MUSIC, STARS AND STARDOM EDITED BY STEPHEN LOY, JULIE RICKWOOD AND SAMANTHA BENNETT Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] Available to download for free at press.anu.edu.au A catalogue record for this book is available from the National Library of Australia ISBN (print): 9781760462123 ISBN (online): 9781760462130 WorldCat (print): 1039732304 WorldCat (online): 1039731982 DOI: 10.22459/PMSS.06.2018 This title is published under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International (CC BY-NC-ND 4.0). The full licence terms are available at creativecommons.org/licenses/by-nc-nd/4.0/legalcode Cover design by Fiona Edge and layout by ANU Press This edition © 2018 ANU Press All chapters in this collection have been subjected to a double-blind peer-review process, as well as further reviewing at manuscript stage. Contents Acknowledgements . vii Contributors . ix 1 . Popular Music, Stars and Stardom: Definitions, Discourses, Interpretations . 1 Stephen Loy, Julie Rickwood and Samantha Bennett 2 . Interstellar Songwriting: What Propels a Song Beyond Escape Velocity? . 21 Clive Harrison 3 . A Good Black Music Story? Black American Stars in Australian Musical Entertainment Before ‘Jazz’ . 37 John Whiteoak 4 . ‘You’re Messin’ Up My Mind’: Why Judy Jacques Avoided the Path of the Pop Diva . 55 Robin Ryan 5 . Wendy Saddington: Beyond an ‘Underground Icon’ . 73 Julie Rickwood 6 . Unsung Heroes: Recreating the Ensemble Dynamic of Motown’s Funk Brothers . 95 Vincent Perry 7 . When Divas and Rock Stars Collide: Interpreting Freddie Mercury and Montserrat Caballé’s Barcelona .
    [Show full text]
  • Dr. Jeffrey C. Herndon Ferguson Social Science Building, 160 [email protected] Office Hours: 8:00-9:30 A.M
    Political Science 488 The Philosophy of Time Travel Section 01 11:00-12:15 TTH Professor Information: Dr. Jeffrey C. Herndon Ferguson Social Science Building, 160 [email protected] Office Hours: 8:00-9:30 a.m. TTH 10:00-11:00 a.m. MW And by appointment Course Description: As the longest running science fiction program of all-time, Doctor Who has captivated audiences and created fans for more than 50 years. The premise is simple and complicated at the same time: tell the stories of a traveler (and the companions he picks up along the way) through time and space, battle aliens and monsters, rescue civilizations, let some civilizations die, destroy some civilizations, create civilizations, violate the laws of physics, maintain the integrity of the timeline and history (except in those instances in which the titular character chooses to change the timeline and history), etc., etc. (as I said, it is simple and complicated at the same time). In its original incarnation, Doctor Who was intended to be a children’s program imbued with educational content. The idea that Sidney Newman of the BBC had to was to disguise history lessons in a program about a time-traveling alien. Since its inception, though, the program has evolved although it remains educational. This course will be an examination of the lessons that can be learned from this particular piece of popular culture. Included will be discussions of history, ethics, philosophy, religion as expounded in the program throughout its more than fifty year journey. Douglas Adams once observed that the trick in writing Doctor Who was to make the show complex enough for children yet simple enough for their parents to understand.
    [Show full text]
  • Independent Television Producers in England
    Negotiating Dependence: Independent Television Producers in England Karl Rawstrone A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts and Creative Industries, University of the West of England, Bristol November 2020 77,900 words. Abstract The thesis analyses the independent television production sector focusing on the role of the producer. At its centre are four in-depth case studies which investigate the practices and contexts of the independent television producer in four different production cultures. The sample consists of a small self-owned company, a medium- sized family-owned company, a broadcaster-owned company and an independent- corporate partnership. The thesis contextualises these case studies through a history of four critical conjunctures in which the concept of ‘independence’ was debated and shifted in meaning, allowing the term to be operationalised to different ends. It gives particular attention to the birth of Channel 4 in 1982 and the subsequent rapid growth of an independent ‘sector’. Throughout, the thesis explores the tensions between the political, economic and social aims of independent television production and how these impact on the role of the producer. The thesis employs an empirical methodology to investigate the independent television producer’s role. It uses qualitative data, principally original interviews with both employers and employees in the four companies, to provide a nuanced and detailed analysis of the complexities of the producer’s role. Rather than independence, the thesis uses network analysis to argue that a television producer’s role is characterised by sets of negotiated dependencies, through which professional agency is exercised and professional identity constructed and performed.
    [Show full text]