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Thin Blue Lines: Product Placement and the Drama of Pregnancy Testing in British Cinema and Television
BJHS 50(3): 495–520, September 2017. © British Society for the History of Science 2017. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited. doi:10.1017/S0007087417000619 Thin blue lines: product placement and the drama of pregnancy testing in British cinema and television JESSE OLSZYNKO-GRYN* Abstract. This article uses the case of pregnancy testing in Britain to investigate the process whereby new and often controversial reproductive technologies are made visible and normal- ized in mainstream entertainment media. It shows how in the 1980s and 1990s the then nascent product placement industry was instrumental in embedding pregnancy testing in British cinema and television’s dramatic productions. In this period, the pregnancy-test close- up became a conventional trope and the thin blue lines associated with Unilever’s Clearblue rose to prominence in mainstream consumer culture. This article investigates the aestheticiza- tion of pregnancy testing and shows how increasingly visible public concerns about ‘schoolgirl mums’, abortion and the biological clock, dramatized on the big and small screen, propelled the commercial rise of Clearblue. It argues that the Clearblue close-up ambiguously concealed as much as it revealed; abstraction, ambiguity and flexibility were its keys to success. Unilever first marketed the leading Clearblue brand of home pregnancy test in the mid- 1980s. Since then home pregnancy tests have become a ubiquitous and highly familiar reproductive technology and diagnostic tool. -
Hyperreal Australia the Construction of Australia in Neighbours and Home & Away
Hyperreal Australia the construction of Australia in Neighbours and Home & Away Melissa McEwen March 2001 This volume is submitted in partial fulfilment of the requirements for the degree of Master of Arts of the Australian National University in the Department of Australian Studies I wish to confirm that the thesis is my own work and that all sources used have been acknowledged. Melissa McEwen 30 March 2001 TABLE OF CONTENTS Statement of authorship ii Table of contents iii Acknowledgments iv 1. Introduction 1 2. Neighbours 5 Employment 7 Education 10 E thnicity 12 W om en 14 Masculinity 18 Relationships and sexuality 20 Lifestyle 22 Disease and mental illness 25 C onclusion 26 3. Home & Away 27 Employment 30 Education 32 Ethnicity 34 W om en 37 Masculinity 42 Relationships and sexuality 45 Lifestyle 48 Disease and mental illness 49 Conclusion 51 4. National Stories 52 What is soap opera? 52 National myths and representation 56 Jobs and education 60 Ethnicity and racism 64 W om en 67 Masculinity 72 Relationships and sexuality 75 Lifestyles 77 Disease and mental illness 79 C onclusion 80 iii j. Constructing Australia 81 Construction and reception of soaps 81 Impact of television 88 Hyperreal Australia 92 Conclusion 107 i. A Moment’s Reflection 108 Mbliography 111 iv ACKNOWLEDGMENTS As this thesis has been a long time in gestation, there are a number of people to thanks for their assistance and help: Jon McConachie for starting me down this path and John Docker for guiding me to the end; Ann Curthoys and Noel Purdon for helping to ensure -
Westminsterresearch
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch Mediated encounters in diasporic space: exploring processes of transculturation syncretism and identity redefinition in the Ghanaian diaspora in London. Nii Anang Adjetey School of Media, Arts and Design This is an electronic version of a PhD thesis awarded by the University of Westminster. © The Author, 2010. This is an exact reproduction of the paper copy held by the University of Westminster library. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Users are permitted to download and/or print one copy for non-commercial private study or research. Further distribution and any use of material from within this archive for profit-making enterprises or for commercial gain is strictly forbidden. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: (http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] MEDIATED ENCOUNTERS IN DIASPORIC SPACE: EXPLORING PROCESSES OF TRANSCULTURATION SYNCRETISM AND IDENTITY REDEFINITION IN THE GHANAIAN DIASPORA IN LONDON NII ANANG ADJETEY A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS OF THE UNIVERSITY OF WESTMINSTER FOR THE DEGREE OF DOCTOR OF PHILOSOPHY MARCH 2010 LONDON -
22 Eastenders and the Manufacture of Celebrity Anthony
EastEnders and the Manufacture of Celebrity Anthony McNicholas Communication and Media Research Institute University of Westminster Keywords: BBC, celebrity, publicity, professionalism, private lives, tabloid press Abstract When EastEnders launched in February 1985 it represented a new approach by the BBC to programme making in many ways. One of these was publicity. Traditionally, the BBC put little effort into programme promotion but for EastEnders a much more professional approach was adopted and more resources employed. In part the publicity was based on the real life histories of the actors involved, many of whom had been cast because they had similar backgrounds to the characters they played. However, the full-blooded entry of the BBC, the UK’s largest cultural producer into the business of publicity was to have unforeseen consequences, as the tabloid press, following a logic of its own created the kind of feeding frenzy around the actors’ private lives with which we are so familiar today. The launch of EastEnders, it is argued, represents therefore a significant moment in recent British cultural history as the private lives of relatively minor characters, as much as their on screen personas became public property. Introduction Social phenomena such as celebrity culture are not uniform across the globe though they may be present very widely. They are inflected differently, and ‘have numerous points of origin, numerous points of change’ (Turner 2004, 12) in the various places where they occur depending on the nature of the society out of which they both come and inform. In the UK, we ‘celebrate’ if that is the word, certain individuals or classes of people in our own distinct way. -
2013 Annual Report
2013 ANNUAL REPORT RONALD A MUNOZ WEHISMAN MUNOZ ANTONIO MUNOZ DIAZ GREGORY B MUNRO JOHN MUNRO BRETT A MUNSEY COURTNEY L MUNSEY GLORIA MUNSON W ANDREWS MUNSON JR DANIEL MUNZO RAJADURAI MURALITHARAN PATRICK MURAWSKI PAUL MURCHEK KENNETH MURDOCH DONNY R MURDOCK VICTOR J MURILLO GUY MURIN JUSTIN M MURPHREE BILLY L MURPHY BRANDON MURPHY BRIAN MURPHY CHRISTOPHER MURPHY DALE MURPHY DAN MURPHY DARREN GEORGE MURPHY DAVID MURPHY DAVID MURPHY GERARD E MURPHY JACKIE MURPHY JEANETTE MURPHY KENNETH MURPHY MARTIN MURPHY MATTHEW MURPHY MCCONNELL L MURPHY MICHAEL MURPHY MICHAEL DEWAYNE MURPHY PHILIP MURPHY RODNEY MURPHY SARA J MURPHY SCOTT A MURPHY SEAN MURPHY SEAN K MURPHY SHARON A MURPHY STEPHEN L MURPHY STEVEN C MURPHY WILLIAM M MURPHY CATHERINE MURRAY DANIEL G MURRAY JEFFREY MURRAY JUDITH A MURRAY KIMONICA B MURRAY LAWRENCE MURRAY NATHAN M MURRAY PAUL MURRAY RICHARD MURRAY TODD F MURRAY WILLIAM A MURRAY JR WILLIAM L MURRAY JR MANIKANDAN MURSUGASAN SASIKUMAR MURUGAIYAN DALE MURZYN ANDERSON MUSE JEFF MUSE JEFFREY MUSE SAMUEL MUSE III TODD MUSE STEPHEN A MUSGRAVE JOHN L MUSGRAVES LARRY MUSHING BARRY D MUSICK DUSTIN MUSSA TROY MUSSELMAN RICHARD D MUSSER JEFFREY MUSSON WAZEEM MUSTAPHA SONG HENG MUTH RENGARAJ MUTHAIAH ALEX J MUTSCHELKNAUS BENJAMIN R MUTSCHELKNAUS AARON J MUTSCHLER PAUL MUZIO KARYN STEPHANZ MUZZEY BOBBY R MYERS BRENDA MYERS CATHY KAY MYERS COREY MYERS DARREN J MYERS DARRYL MYERS DAVID C MYERS ERIC MYERS GLEN MYERS GLEN L MYERS HEATH A MYERS JEFFERY MYERS JESSICA R MYERS JIMMY DALE MYERS KRISTIE MYERS MICHAEL MYERS NOAH A MYERS PATRICK MYERS -
Henderson, Lesley M. (2002) Social Issue Story Lines in British Soap Opera
Henderson, Lesley M. (2002) Social issue story lines in British soap opera. PhD thesis http://theses.gla.ac.uk/6541/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] SOCIAL ISSUE STORY LINES IN BRITISH SOAP OPERA Lesley M. Henderson A thesis submitted for the degree of Doctor of Philosophy . University of Glasgow Department of Sociology & Anthropology May 2002 2 Abstract This thesis examines the factors which influenced how social issue story lines were developed in the areas of sexual violence, breast cancer and mental distress in British soap opera in the mid to late 1990's. The soap opera production process was examined by conducting interviews with members of production teams from different programmes. This core study was contextualised by additional interviews with production personnel working in other areas of television (e.g. documentary). Spokespeople from different organisations who consulted on story lines or lobbied around different issues were also interviewed. In total, 64 interviews were conducted. The influence of soap story lines on public understandings of an issue was explored in an audience reception study of sexual violence in Brookside (12 focus groups). -
INVESTIGATING the STYLE, FORM and GENRE of PERIOD DRAMA in 2010S BRITISH TELEVISION
A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy December 2020 HERITAGE AND POST-HERITAGE: INVESTIGATING THE STYLE, FORM AND GENRE OF PERIOD DRAMA IN 2010s BRITISH TELEVISION WILL STANFORD This image is unavailable. Please consult reference on page ii for further information. ABBISS ii ABSTRACT This project analyses six period drama productions in British television of the 2010s, expanding Claire Monk’s term of ‘post-heritage’ into a critical framework. Its case studies establish a cycle of progressive representations of the past in recent television drama, which operate against the assumptions of ‘heritage’ nostalgia forwarded by earlier scholars. The post-heritage framework consists of five guiding elements: interrogation, subversion, subjectivity, self-consciousness and ambiguity. These inform the analysis of the project’s case studies, while also allowing the existence of post-heritage elements to be recognised in earlier period drama productions. The thesis is split into three distinct parts, which allow the heritage and post-heritage elements of the case studies to be associated with the characteristics and theoretical concepts of television drama. The first chapter of each part evaluates the institutional context of its case study, identifying its impact upon production through textual examples from the programme. The second chapter of each part focuses on close analysis, demonstrating the extent to which post- heritage elements can assist innovation in television drama. Part I focuses on televisual style, identifying the naturalist, realist and modernist aesthetics of television drama. Scholarly sources are used to connect these with periods of British television history. -
Representation in the Media
Sandra Unit 4 – critical and contextual awareness in the creative media production REPRESENTATION IN THE MEDIA For this assignment I will be looking at the cast of Eastenders answering the following questions: 1) Tick which representation types the producer has covered: Gender Race Age Disability Sexuality Class Location 2) Number how many characters are there of each: GENDER Regular Female Characters Characters Actress Duration Kathy Beale Gillian Taylforth 1985-2000, 2015- Sharon Watts Letitia Dean 1985-1995, 2001-2006, 2012- Michelle Fowler Jenna Russell 1985-1995, 2016- Susan Tully Dot Cotton June Brown 1985-1993, 1997- Sonia Fowler Natalie Cassidy 1993-2007, 2010-2011, 2014- Rebecca Fowler Jasmine Armfield 2000, 2002, 2005-2007, Jade Sharif 2014- Alex and Vicky Gonzalez Louise Mitchell Tilly Keeper 2001-2003, 2008, 2010, Brittany Papple 2016- Danni Bennatar Rachel Cox Jane Beale Laurie Brett 2004-2012, 2014- Stacey Slater Lacey Turner 2004-2012, 2014- Jean Slater Gillian Wright 2004- Honey Mitchell Emma Barton 2005-2008, 2014- Denise Fox Diana Parish 2006- Libby Fox Belinda Owusu 2006-2010, 2014- Abi Branning Lorna Fitzgerald 2006- Lauren Branning Jacqueline Jossa 2006- Madeline Duggan Shirley Carter Linda Henry 2006- Whitney Dean Shona McGarty 2008- Kim Fox Tameka Empson 2009- Glenda Mitchell Glynis Barber 2010-2011, 2016- Tina Carter Luisa Bradshaw-White 2013- Linda Carter Kellie Bright 2013- Donna Yates Lisa Hammond 2014- Carmel Kazemi Bonnie Langford 2015- Madison Drake Seraphina Beh 2017- Alexandra D‘Costa Sydney Craven