This book focuses on the emerging historical relations between British television and film culture in the 1950s. Drawing upon archival research, it does this by exploring the development of the early cinema programme on television - principally Current Release (BBC, 1952-3), Picture Parade (BBC, 1956) and Film Fanfare (ABC, 1956-7) - and argues that it was these texts which played the central role in the developing relations between the media. Particularly when it comes to Britain, the early co-existence of television and cinema has been seen as hostile and antagonistic, but in situating these programmes within the contexts of their institutional production, aesthetic construction and reception, the book aims to 'reconstruct' television's coverage of the cinema as crucial to the fabric of British film and television culture at the time. It demonstrates how the roles of cinema and television - as media industries and cultural forms, but crucially as sites of screen entertainment - effectively came together at this time in such a way that is unique to this decade.

This book explores the role of television in the 1950s and early 1960s, with a focus on the relationship between Tories and TV. The early 1950s were characterized by recovery from war and high politics. Television was a new medium that eventually came to dominate mass media and political culture. But what impact did this transition have on political organization and elite power structures? Winston Churchill avoided it; Anthony Eden wanted to control it; Harold Macmillan tried to master it; and Alec Douglas-Home was not Prime Minister long enough to fully utilize it. The Conservative Party’s relationship with the new medium of television is a topic rich with scholarly questions and interesting quirks that were characteristic of the period. This exploration examines the changing dynamics between politics and the media, at grassroots and elite levels. Through analysing rich and diverse source materials from the Conservative Party Archive, Anthony Ridge-Newman takes a case study approach to comparing the impact of television at different points in the party’s history. In mapping changes across a thirteen year period of continual Conservative governance, this book argues that the advent of television contributed to the party’s transition from a membership-focused party to a television-centric professionalized elite.

The Routledge Companion to British Media History provides a comprehensive exploration of how different media have evolved within social, regional and national contexts. The 50 chapters in this volume, written by an outstanding team of internationally respected scholars, bring together current debates and issues within media history in this era of rapid change, and also provide students and researchers with an essential collection of comparable media histories. The Routledge Companion to British Media History provides an essential guide to key ideas, issues, concepts and debates in the field. Chapter 40 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 3.0 license. https://www.routledgehandbooks.com/doi/10.4324/9781315756202.ch40

A stimulating overview of the intellectual arguments and critical debates involved in the study of British and Irish cinemas British and Irish film studies have expanded in scope and depth in recent years, prompting a growing number of critical debates on how these cinemas are analysed, contextualized, and understood. A Companion to British and Irish Cinema addresses arguments surrounding film historiography, methods of textual analysis, critical judgments, and the social and economic contexts that are central to the study of these cinemas. Twenty-nine essays from many of the most prominent writers in the field examine how British and Irish cinema have been discussed, the concepts and methods used to interpret and understand British and Irish films, and the defining issues and debates at the heart of British and Irish cinema studies. Offering a broad scope of commentary, the Companion explores historical, cultural and aesthetic questions that encompass over a century of British and Irish film studies—from the early years of the silent era to the present-day. Divided into five sections, the Companion discusses the social and cultural forces shaping British and Irish cinema during different periods, the contexts in which films are produced, distributed and exhibited, the genres and styles that have been adopted by British and Irish films, issues of representation and identity, and debates on concepts of national cinema at a time when ideas of what constitutes both ‘British’ and ‘Irish’ cinema are under question. A Companion to British and Irish Cinema is a valuable and timely resource for undergraduate and postgraduate students of film, media, and cultural studies, and for those seeking contemporary commentary on the cinemas of Britain and Ireland.

Explores British media history as a series of competing narratives. This collection identifies and contrasts the various interrelationships between media histories, and also encourages dialogue between different historical, political, and theoretical perspectives, including: liberalism; feminism; populism; nationalism; and, libertarianism.

Histories of science fiction often dicuss Fritz Lang's Metropolis as a classic work within the genre--yet the term "science fiction" had not been invented at the time of the film's release. If the genre did not have a name, did it exist? Does retroactive assignment to a genre change our understanding of a film? Do films shift in meaning and status as the name of a genre changes meaning over time? These provocative questions are at the heart of this book, whose thirteen essays examine the varying constructions of genre within film, television, and other entertainment media. Collectively, the authors argue that generic labels are largely irrelevant or even detrimental to the works to which they are applied. Part One examines the meanings of genre and reveals how the media is involved in the production and dissemination of generic definitions. Part Two considers specific films (or groups of films) and their relationships within various categorizations. Part Three focuses on the closely tied concepts of history and memory as they relate to the perceptions of genre.

This text explores some of the key debates about British cinema and film theory, and examines the curious mix of rebellion and conformity which marked British cinema in the post-war era.

Featuring ordinary people, celebrities, game shows, hidden cameras, everyday situations, and humorous or dramatic situations, reality TV is one of the fastest growing and important popular culture trends of the past decade, with roots reaching back to the days of radio. The Tube Has Spoken provides an analysis of the growing phenomenon of reality TV, its evolution as a genre, and how it has been shaped by cultural history. This collection of essays looks at a wide spectrum of shows airing from the 1950s to the present, addressing some of the most popular programs including Alan Funt's Candid Camera, Big Brother, Wife Swap, Kid Nation, and The Biggest Loser. It offers both a multidisciplinary approach and a cross-cultural perspective, considering Australian, Canadian, British, and American programs. In addition, the book explores how popular culture shapes modern western values; for example, both An American Family and its British counterpart, The Family, showcase the decline of the nuclear family in response to materialistic pressures and the modern ethos of individualism. This collection highlights how reality TV has altered the tastes and values of audiences in the twentieth and twenty-first centuries. It analyzes how reality TV programs reflect the tensions between the individual and the community, the transformative power of technology, the creation of the celebrity, and the breakdown of public and private spheres.

'The critic is dead.' 'Everyone's a critic.' These statements reflect some of the perceptions of film criticism in a time when an opinion can be published in seconds, yet reach an audience of millions. This book examines the reality of contemporary film criticism, by talking to leading practitioners in the UK and North America - such as Nick James, Mark Cousins, Jonathan Rosenbaum and Richard Porton - and by covering a broad spectrum of influential publications - including Sight & Sound, The Guardian, Cineaste, indieWIRE and Variety. Forming a major new contribution to an emerging field of study, these enquiries survey the impact of larger cultural, economic and technological processes facing society, media and journalism. Historical perspectives on criticism from ancient times and current debates in journalism and digital media are used to unravel questions, such as: what is the relationship between crisis and criticism? In what way does the web change the functions and habits of practitioners? What influences do film industries have on the critical act? And how engaged are practitioners with converged and creative film criticism such as the video essay?In the face of transformative digital idealism, empirical findings here redress the balance and argue the case for evolution rather than revolution taking place within film criticism.

Few historical events have resonated as much in modern British culture as the Second World War. It has left a rich legacy in a range of media that continue to attract a wide audience: film, TV and radio, photography and the visual arts, journalism and propaganda, architecture, museums, music and literature. The enduring presence of the war in the public world is echoed in its ongoing centrality in many personal and family memories, with stories of the Second World War being recounted through the generations. This collection brings together recent historical work on the cultural memory of the war, examining its presence in family stories, in popular and material culture and in acts of commemoration in Britain between 1945 and the present.