Contemporary British Television

This paper examines documentary film as a medium for communicating issues of girl child education in Nigeria. Girl child education has received a lot of attention from civil societies and government agencies for the past two decades in Nigeria. The education of the girl child is particularly critical to the growth and development of every nation. No sustainable development is possible if women remain uneducated , discriminated against and disenfranchised. However, despite these efforts the phenomenon still remains a subject of concern especially in the Northern part of Nigeria where primary school enrolment and completion rate is very low. Using the docu-film Amina the paper argues that documentary film is a vaiable alternative in addressing and discussing girl child education issues. Docu-Film as a mass medium has the capacity to interrogate issues of concern,so as to project a truthful depiction of any given phenomenon via a cinematic experience. The paper highlights the culture of silence, the walk in the lonely path of life and the eventual death of the girl as the side effects of the lack of girl child education. This paper, therefore, concludes that the use of documentary film in exploring girl child education issues is a vital tool as to the writings of different scholars.

The portrayal of the police on UK television has attracted a degree of academic attention over the years. The current article provides a survey of the relevant literature and a consideration of some select TV portrayals past and present to assess the outlooks on policing they promote and reproduce. It is argued that analysts need to investigate further the impact of television portrayals of policing on the police themselves if we are to fully understand their significance.

This exploratory paper considers the evolution of drama production companies in the UK against the backdrop of regulatory interventions (Paterson, 2017a). In so doing, it poses the question of what was it that made a successful drama production company as the context of tv production changed. A set of firm types of current drama production companies is established, the density of companies occupying this niche mapped, and the growing heterogeneity of firm types over time identified. Firms within these types are examined applying the fitness landscape methodology, developed for the analysis of organisations from complexity theory (Kauffman, 1993). This approach offers a dynamic conception of an industrial sector in continuous change responding to the technological, market and the endogenous factors with which firms engage. The adaptive walks of a set of companies within each firm type are plotted by examining a company's reputation, their access to talent and their ability to sec...

This essay focuses on the operation of the UK independent television production sector in the context of the entrepreneurial aspirations of company owners in the 1990s. The calculative practices used running these small and medium sized companies are examined and the experiences in managing them are mapped as they negotiated an evolving fitness landscape. Analysis is provided of the strategies adopted including the need to develop reputation and relational contracts to secure a constant flow of commissions. Conclusions are drawn about this transitional phase of entrepreneurship in this sector ahead of government intervention in the market through imposing new terms of trade between independent production companies and broadcasters.

Per ottenere il controllo della propria eredità e la libertà di dedicarsi agli amati studi classici, a Penelope non resta che trovare un marito accomodante. Così, lo sprovveduto che per poco non finisce sotto le ruote della sua carrozza le pare il candidato ideale. Solo dopo aver celebrato un frettoloso matrimonio clandestino, lei scopre di aver sposato un duca! Da parte sua, Adam vede nella stravagante, ricchissima intellettuale Penelope un modo per salvarsi dalla rovina economica ma presto l'intelligenza e la sensibilità di Penelope faranno breccia nel suo cuore...

In my PhD thesis I argue that to achieve a nuanced picture of British women documentarians' authorial agency, traditional film text based approaches to scholarship need to be supplemented by the analysis of extra-textual contexts like the filmmakers' background and training; the rules and relationships present in the production context; the filmmakers' own perceptions of their creative process.

Foreign fictional TV production aimed at teenagers, i.e. teen TV, is currently strongly influenced by the desire of television stations to capture the attention of the lucrative audience of Millennials. One of the characteristics of this production is an emphasis on the diversity of characters that populate the fictional world of the TV series. This article deals with a specific type of characters; LGBT+ teenagers who have shifted, in terms of action and importance in the narrative, from a marginalised group to the centre of attention of the audience, both in terms of the narrative function and the transformation of character personalities from pure stereotypes and TV tropes to complex protagonists. The author deals with the interconnection of marketing focus on Millennials and the representation of such characters and argues that one of the main reasons why these characters are currently so narratively focused on is, more than the success of human rights activists, an effort on the part of marketing departments of TV stations to reach a specific demographic.

Artykuł ukazuje sitcom jako swoiście teatralny gatunek telewizyjny. O teatralnym charakterze sitcomu świadczy przede wszystkim jego geneza. Autor opisuje, w jaki sposób współczesne telewizyjne komedie sytuacyjne wyewoluowały z widowisk typu minstrel show, przedstawia także związki gatunku z wodewilem amerykańskim i francuskim. Ważnym elementem łączącym minstrel shows i wodewile z wczesnymi sitcomami jest humor etniczny. Ten typ komizmu trafił do telewizji poprzez radio, wraz z adaptacjami słuchowisk takich jak Amos ‘n’ Andy czy The Beulah Show. Junke pokazuje też, w jaki sposób ukształtowała się współczesna forma klasycznych sitcomów, blisko spokrewniona z wodewilowymi skeczami. Niezwykle istotnym aspektem podejmowanego zagadnienia jest fakt, iż komedie sytuacyjne są nagrywane z udziałem publiczności, bądź też udział ten symulują za pomocą tzw. laugh track. Również kamera zajmuje pozycję widza teatralnego, a twórcy w taki sposób używają filmowych środków wyrazu, aby podkreślić wrażenie umowności.

Abstract: The text attempts to portray sitcom as a specifically theatrical genre of television programming. The theatricality of sitcom is evident in its origins. The author describes how modern situation comedies evolved from minstrel shows, he also outlines the connections between the television genre and vaudeville, both American and French. Minstrel shows, vaudevilles and early television sitcoms all rely heavily on ethnic humor. This type of humor found its way to the new medium through radio, as it was at the core of television adaptations of radio sitcoms such as Amos ‘n’ Andy and The Beulah Show. Junke describes the shaping of classic television sitcom’s form, which is closely related to comic sketches featured in American vaudeville. An important aspect of the issue is the fact that sitcoms are taped before a live studio audience, or simulate the presence of such audience with the help of a laugh track. Camera in situation comedies assumes the position of a spectator and the filmmakers use the cinematic means of expression in such a manner as to emphasize its evident conventionality.

The outcome of the Brexit referendum is the apex of a long history of Euro-British relationships characterised by two opposing but coexisting stereotypes. On the one hand, England appears as the freedom-seeking nation resisting restrictive collective policies imposed by a totalitarian EU regime of faceless Brussels bureaucrats. On the other hand, England seems to resurrect its imperialistic superiority against the purported democracy and horizontality of European institutions. Adopting the notion of “cultural intimacy”—with which Michael Herzfeld analyzes the mutual engagement of contrasting positions in political and administrative practices—this paper addresses the equally stereotypical images of an indifferent, inhuman European bureaucracy and of an insular, cynical Great Britain in the works of Malcolm Bradbury and Tim Parks. Be it the allegedly liberal yet nationalistic stance of Thatcherist anti-Europeanism in Bradbury, or the British disaffection with the purported identitarian and cultural levelling within the common borders of the Schengen area and of the single currency, both authors’ symbolic constructions of European institutions and of British Euroscepticism are built as cultural entanglements of these two realities, and show the need to overcome the reductive conception of Europe as a failed super-state.

Nazywanie jednego ze swoich doświadczeń w życiu najgorszym, jest niezwykle subiektywne. Tym bardziej jeżeli mówimy o telewizji, która wypełnia codzienne życie wielu mieszkańcom Ziemi. Niemalże w każdym zakątku globu ludzie posiadają telewizory. Tworzy to ogromną wioskę, łączącą ludzi z różnych krajów. Łączy się to z przekazem medialnym, który stara się być jak najbardziej uniwersalny, a zarazem uśredniony, by każdy widz mógł zrozumieć to, co ogląda. Dlatego próba oceny pozycji w telewizyjnej ramówce jest trudnym zadaniem.

This article uses a media industries studies perspective to investigate the current state of transmedia production in the UK. Analysing the discursive statements of a range of industry participants from both UK television and games industries, the article reveals a series of contradictions and misunderstandings that may be limiting the effectiveness of multi-platform projects. By comparing overlapping discursive patterns around attitudes to risk, measures of success, authorship between the two industries, and repeated concerns over the balance of creative and commercial imperatives, the article argues that existing hierarchies of power between media industries threaten to derail future convergence.

A CURA DI FRANCESCO FRANCIA 0ccorre aver voglia di essere giudicati sul proprio modo d'amare per leggere questo romanzo. E se uno non è uno che amerebbe chiunque, uno che amerebbe gli altri per quello che sono, non legga questo libro: si annoierebbe. Questo libro costringe chi lo riesce a leggere a farsi domande sul senso delle proprie azioni: è una provocazione bell'e buona sull'amore.

Artykuł poświęcony jest odpowiednio: statusowi publicznej te- lewizji odpowiadającej oczekiwaniom odbiorców żądnych do- brych żartów, procesowi realizacji seriali komediowych, w tym wypadku sitcomów, a także specyfice owego gatunku zdetermi- nowanego kulturą Wielkiej Brytanii, w której najważniejszy jest humor. Zagadnienie angielskiego humoru, jego źródeł i cech dys- tynktywnych, do tej pory niewystarczająco opracowane, w arty- kule znajduje osobne miejsce. Do ilustracji poruszanych zagad- nień posłużyły autorce dwa wielokrotnie nagradzane w Wielkiej Brytanii, posiadające dużą oglądalność, a nieznane szerzej w Polsce sitcomy – "Peep Show" Marka Corrigana i Jeremy’ego Us- borne’a oraz "Miranda" Mirandy Hart.

The fear of crime and the media's reassurance that something is being done constitute a closed world of threat and reinforcement which imprison the viewer. This truly signals the era of the postmodern spectacle." 1 Why is the representation of the police on television programmes such as 'Road Wars' and 'police, Camera, Action!' over sensationalised?

Brytyjskie seriale, a komedie sytuacyjne w szczególności, są dziś niezwykle popularne na całym świecie. Świadczą o tym - szeroka dystrybucja klasycznych i kultowych już dzieł, m.in. 'Allo 'Allo!, Yes Minister, Blackadder oraz krajowe wersje nowszych formatów, takich jak: Absolutely Fabulous, The Office czy omawiany poniżej The IT Crowd. Liczba brytyjskich sitcomów jest imponująca. Różnią się podejmowaną tematyką, miejscem rozgrywanych sytuacji i zdarzeń, kreacją bohaterów i przyjętą konwencją. Więcej je jednak łączy. Przede wszystkim to, że portretują Anglików, uwypuklając ich narodowe cechy. Ten przerysowany wizerunek mieszkańców wysp to główne źródło komizmu, ale też satyra na angielskie społeczeństwo. W artykule zanalizuję w kontekście społeczno-kulturowym serialowe konstrukcje postaci zawarte w trzech najpopularniejszych w ostatniej dekadzie i wielokrotnie nagradzanych britcomów: Peep Show , The IT Crowd  oraz Miranda.

Świat według Kiepskich to jeden z najpopularniejszych (bo oglądanych przez miliony ) sitcomów ostatnich lat w reżyserii Okiła Khamidowa , następnie Patricka Yoki , produkowany przez ATM  dla Telewizji Polsat, a emitowany od 1999 roku do dziś . Przedstawia niezwykłe perypetie życiowe zwykłej, bo przeciętnej, bytującej na granicy minimum socjalnego rodziny Kiepskich oraz ich sąsiadów i jest w polskiej telewizji sitcomem wyjątkowym.