Kirjahaku

This book explores the formative period of British television drama, concentrating on the years 193655. It examines the continuities and changes of early television drama, and the impact this had upon the subsequent 'golden age'. In particular, it questions the caricature of early television drama as 'photographed stage plays' and argues that early television pioneers in fact produced a diverse range of innovative drama productions, using a wide range of techniques. It also explores the often competing definitions about the form and aesthetics of early television drama both inside and outside the BBC. Given the absence of an audio-visual record of early television drama, the book uses written archive material in order to reconstruct how early television drama looked, and how it was considered by producers and critics, whilst also offering a critical examination of surviving dramas, such as Rudolph Cartier's Nineteen Eighty-Four.

This book explores the formative period of British television drama, concentrating on the years 1936-55. It examines the continuities and changes of early television drama, and the impact this had upon the subsequent 'golden age'. In particular, it questions the caricature of early television drama as 'photographed stage plays' and argues that early television pioneers in fact produced a diverse range of innovative drama productions, using a wide range of techniques. It also explores the often competing definitions about the form and aesthetics of early television drama both inside and outside the BBC. Given the absence of an audio-visual record of early television drama, the book uses written archive material in order to reconstruct how early television drama looked, and how it was considered by producers and critics, whilst also offering a critical examination of surviving dramas, such as Rudolph Cartier's Nineteen Eighty-Four.

This book is about the life and work of David Milch, the writer who created NYPD Blue, Deadwood and a number of other important US television dramas. It provides a detailed account of Milch’s journey from academia to the heights of the television industry, locating him within the traditions of achievement in American literature over the past in order to evaluate his contribution to fiction writing. It also draws on behind-the-scenes materials to analyse the significance of NYPD Blue, Deadwood, John From Cincinatti and Luck. Contributing to academic debates in film, television and literary studies on authorship, the book will be of interest to fans of Milch’s work, as well as those engaged with the intersection between literature and popular television.

An exploration of the stylistic, aesthetic and thematic impact of hospital drama. This book argues that 'new' medical dramas offer a different landscape from their predecessors, and they tend to disturb rather than reassure. The medical profession are often depicted as being forced to confront new management , ethical labyrinths, and noxious patients. The historical development of the 'new' medical drama is also explored, along with the implications of, and anxieties within, the depiction of modern healthcare. Lastly the book looks at the parallels between cultural fascination with the body as either sick or perfect and the attractions of a genre that seems to revel in the juxtaposition of morbidity and glamour.

Explores the figure of the detective as a pursuer of knowledge in four noir films.Reluctant Sleuths, True Detectives examines the detective figure in four noir and neo-noir films: Out of the Past (1947), Notorious (1946), Vertigo (1958), and Chinatown (1974). Exploring the way that these characters each move from an initial state of reluctant passivity to one of passionate engagement with the world around them, it questions the cinematic forces required to motivate and move them. In its close examinations of each film, the book meditates on the detectives' hunts and how they interact with the cinematic apparatus that captures and presents them to an audience, and it tracks the receptive experience of these films in relation to these questions of motivation and movement.

Explores the figure of the detective as a pursuer of knowledge in four noir films.Reluctant Sleuths, True Detectives examines the detective figure in four noir and neo-noir films: Out of the Past (1947), Notorious (1946), Vertigo (1958), and Chinatown (1974). Exploring the way that these characters each move from an initial state of reluctant passivity to one of passionate engagement with the world around them, it questions the cinematic forces required to motivate and move them. In its close examinations of each film, the book meditates on the detectives' hunts and how they interact with the cinematic apparatus that captures and presents them to an audience, and it tracks the receptive experience of these films in relation to these questions of motivation and movement.