- Film, Television and Media Studies
University of East Anglia
Norwich, NR4 7TJ
United Kingdom - 01603592094
- I've been a member of the School of Television, Film and Media Studies at the University of East Anglia since 2006; f... moreI've been a member of the School of Television, Film and Media Studies at the University of East Anglia since 2006; from 2011 to 2013 I was Head of School. Before that I was a Lecturer in Media and Cultural Studies at the University of Glamorgan for six years. From 2005 to 2010 I was also an Associate Tutor for the Open University course 'DA204 - Understanding Media'.
I recently completed the 3-and-a-half-year AHRC-funded research project, 'Make Me Laugh: Creativity in the British Television Comedy Industry' (2012-15); the research associate was Sarah Ralph and the doctoral student was Erica Horton. We researched the processes television comedy projects go through, and the factors that help and hinder creativity. See www.makemelaugh.org.uk.
My research interests are comedy (especially the sitcom), popular culture, cultural hierarchies, categories and genres, and popular television (especially the documentary). And animals.
I've taught at Middlesex University, Thames Valley University, Central Missouri State University, and at the Centre for Mass Communication Research at the University of Leicester, and I spent a year in Australia as a TEFL teacher. I did my under- and post-graduate studies at Canterbury Christ Church College, receiving my degree and PhD from the University of Kent.edit
This groundbreaking volume – part reader, part textbook - helps students to engage thoroughly with some of the major voices that have come to define the landscape of theory in media studies, from the public sphere to postmodernism, from... more
This groundbreaking volume – part reader, part textbook - helps students to engage thoroughly with some of the major voices that have come to define the landscape of theory in media studies, from the public sphere to postmodernism, from mass communication theory to media effects, from production to reception and beyond. But much more than this, by providing assistance and questions directly alongside the readings, it crucially helps students develop the skills necessary to become a critical, informed and analytical reader.
"A well organised reader which covers the key theories and theorists ... a required text for any student of the media and mass communication. It is a comprehensive overview of media theory, drawing together readings which represent milestones in the field with lucid explanation of their relevance and critical assessment of their impact."
Kevin Williams, Professor of Media and Communication Studies, Swansea University
"Clearly organised around key thinkers in the field, Reading Media Theory offers students an ideal combination of landmark original writings, clear and concise explanations and thoughtful reflection."
Andy Willis, Reader, School of Media, Music and Performance, University of Salford
"A well organised reader which covers the key theories and theorists ... a required text for any student of the media and mass communication. It is a comprehensive overview of media theory, drawing together readings which represent milestones in the field with lucid explanation of their relevance and critical assessment of their impact."
Kevin Williams, Professor of Media and Communication Studies, Swansea University
"Clearly organised around key thinkers in the field, Reading Media Theory offers students an ideal combination of landmark original writings, clear and concise explanations and thoughtful reflection."
Andy Willis, Reader, School of Media, Music and Performance, University of Salford
Even though sitcom has been a consistent staple of broadcasting the world over, rigorous academic work on it as a genre remains limited. This book examines sitcom as an industry in terms of production, audiences and texts, drawing on a... more
Even though sitcom has been a consistent staple of broadcasting the world over, rigorous academic work on it as a genre remains limited. This book examines sitcom as an industry in terms of production, audiences and texts, drawing on a range of examples and case studies in order to examine the genre's characteristics, social position, and pleasures. In highlighting this long-lasting and popular form of television, it offers insights into genre theory and explores how the comic aim of sitcom forms a central characteristic of the genre.
This book takes a global view of sitcom, examining international examples as well as those produced by the more dominant British and American broadcasting industries, in order to explore the relationships between sitcom, nation, and identity. Sitcoms considered include Extras, My Family, Curb Your Enthusiasm, One Foot in the Grave, Peep Show, Summer Heights High, Popetown, and Friends.
This book takes a global view of sitcom, examining international examples as well as those produced by the more dominant British and American broadcasting industries, in order to explore the relationships between sitcom, nation, and identity. Sitcoms considered include Extras, My Family, Curb Your Enthusiasm, One Foot in the Grave, Peep Show, Summer Heights High, Popetown, and Friends.
This unique part reader, part textbook brings core primary media theory readings to the student whilst assisting them with reading, understanding, decoding and deconstructing the material. The dual functionality of the book helps students... more
This unique part reader, part textbook brings core primary media theory readings to the student whilst assisting them with reading, understanding, decoding and deconstructing the material. The dual functionality of the book helps students to familiarise themselves with core texts and develop the necessary critical reading skills and confidence required to engage with the subject. The text is annotated throughout and explores context, content, structure and writing style in order to bring theory to life for the reader.
The book is split into four sections, namely Reading theory, Key thinkers and schools, Approaches and Media Theory in context. This structure is adopted in order to encourage students to familiarise themselves with the material, and the progressive pedagogical apparatus guides them to approach it gradually whilst developing their skill set. The provision of questions to prokove further thought helps to encourage the student to read more widely around the subject and engage with core concepts of both theory and learning. Ultimately the text acts as a ‘how to read’ handbook for media theory and is structured so that students can learn the literature as well as learning how to approach it.
The book is split into four sections, namely Reading theory, Key thinkers and schools, Approaches and Media Theory in context. This structure is adopted in order to encourage students to familiarise themselves with the material, and the progressive pedagogical apparatus guides them to approach it gradually whilst developing their skill set. The provision of questions to prokove further thought helps to encourage the student to read more widely around the subject and engage with core concepts of both theory and learning. Ultimately the text acts as a ‘how to read’ handbook for media theory and is structured so that students can learn the literature as well as learning how to approach it.
Despite its global reach, long-standing popularity, and immense profitability, the sitcom has been repeatedly neglected in theoretical work on television and media. This book brings the analysis of sitcom up to date with a wealth of... more
Despite its global reach, long-standing popularity, and immense profitability, the sitcom has been repeatedly neglected in theoretical work on television and media. This book brings the analysis of sitcom up to date with a wealth of contemporary examples, a range of new approaches to the genre, and an examination of the roles sitcom and comedy play within society.
With specific case studies of Will and Grace, The Office, and The Cosby Show, as well as analysis of a broad range of contemporary and historical examples throughout, this book will be of interest to students of sitcom and comedy, as well as to those of television and popular culture. A chapter on genre examines the history and development of sitcom and the institutional structures that produce it. There is also analysis of the differences among sitcoms produced in a range of countries, and discussion of what happens when a program gets sold and remade abroad. A chapter on representation explores debates about the ways in which sitcom chooses who to make jokes about and why, and whether this matters. And a chapter on performance argues that this is a vital, and under-explored, aspect of sitcom's funniness.
With specific case studies of Will and Grace, The Office, and The Cosby Show, as well as analysis of a broad range of contemporary and historical examples throughout, this book will be of interest to students of sitcom and comedy, as well as to those of television and popular culture. A chapter on genre examines the history and development of sitcom and the institutional structures that produce it. There is also analysis of the differences among sitcoms produced in a range of countries, and discussion of what happens when a program gets sold and remade abroad. A chapter on representation explores debates about the ways in which sitcom chooses who to make jokes about and why, and whether this matters. And a chapter on performance argues that this is a vital, and under-explored, aspect of sitcom's funniness.
This chapter examines Peter Kay's Car Share (BBC1, 2015) to consider the ways it represents pop music as both a resource which the characters draw on to make sense of their lives and, by virtue of this, a fertile site for comedy. One way... more
This chapter examines Peter Kay's Car Share (BBC1, 2015) to consider the ways it represents pop music as both a resource which the characters draw on to make sense of their lives and, by virtue of this, a fertile site for comedy. One way the programme does this is by showing how pop functions as a marker of taste and a resource for the enactment of cultural snobbery. Here we suggest that the programme's comedy can – in certain respects – be understood via the superiority theory of humour. However, we also go on to argue that superiority is not, in fact, the key way in which humour functions in the series. Rather, what might at first appear to be a comedy which mocks the granting of undue significance to pop music, instead ultimately offers up as humorous attempts to deny the powerful personal emotional resonances that such supposedly simple culture can facilitate.
Research Interests:
Debra Ferreday is a lecturer in Media and Cultural Studies at Lancaster University. She has published on new media, feminist theory, fashion and celebrity culture. She is currently working on a book project, Self-Made Women, on media... more
Debra Ferreday is a lecturer in Media and Cultural Studies at Lancaster University. She has published on new media, feminist theory, fashion and celebrity culture. She is currently working on a book project, Self-Made Women, on media representations of femininity, to be published by Berg.
Research Interests:
Why does so much television go unnoticed? This article examines the coverage of the Opening Ceremony of the London 2012 Olympic Games to show how some media forms – especially film and music – are a part of everyday debates about culture,... more
Why does so much television go unnoticed? This article examines the coverage of
the Opening Ceremony of the London 2012 Olympic Games to show how some
media forms – especially film and music – are a part of everyday debates about
culture, whereas television is not. The Opening Ceremony was often about television,
and was consumed by billions via television – yet reviews and commentaries
about the event rarely mention television at all. This article shows that those
involved in the Ceremony who have worked successfully in television – such as
Danny Boyle and Rowan Atkinson – are similarly commonly understood via their
work in other media. The article calls for those in Television Studies to be more
vocal about the work the field does, in order to combat such erasing of television
found in Danny Boyle’s description of the Opening Ceremony not as television, but
as ‘live film’.
the Opening Ceremony of the London 2012 Olympic Games to show how some
media forms – especially film and music – are a part of everyday debates about
culture, whereas television is not. The Opening Ceremony was often about television,
and was consumed by billions via television – yet reviews and commentaries
about the event rarely mention television at all. This article shows that those
involved in the Ceremony who have worked successfully in television – such as
Danny Boyle and Rowan Atkinson – are similarly commonly understood via their
work in other media. The article calls for those in Television Studies to be more
vocal about the work the field does, in order to combat such erasing of television
found in Danny Boyle’s description of the Opening Ceremony not as television, but
as ‘live film’.
Research Interests:
Research Interests:
The three-year (2012–2015) AHRC-funded research project Make Me Laugh: Creativity in the British Television Comedy Industry worked with writers, producers, directors and other industry personnel to map the productions they work on and... more
The three-year (2012–2015) AHRC-funded research project Make Me Laugh: Creativity in the British Television Comedy Industry worked with writers, producers, directors and other industry personnel to map the productions they work on and follow their labor as they move from one job to another and strive to maintain a career. This article draws on interview material from this project to investigate the ways in which comedy workers negotiate the maintenance of their creativity within economic, cultural and industrial contexts such as policy, funding, and the whims of broadcasters and production companies. It argues that while such contexts are evident for all cultural production, there are specifics of the comedy sector because of humor’s relationships with the social role of broadcasting. It therefore highlights the specificity of comic creative labor, contributing to ongoing Humor Studies debates focused on the particularities of comedy as a category.
Research Interests:
The television documentary series The Supervet (Channel 4, 2014–) follows the eponymous Noel Fitzpatrick as he carries out experimental surgery on animals seemingly beyond help. This article examines the series in order to explore how... more
The television documentary series The Supervet (Channel 4, 2014–) follows the eponymous Noel Fitzpatrick as he carries out experimental surgery on animals seemingly beyond help. This article examines the series in order to explore how this programme depicts animal medicine. Drawing on animal studies approaches, it argues that the programme foregrounds the humans rather than the animals, and, in its focus on surgery, legitimizes humans’ dominance of other species. In doing so, it argues that television’s representational strategies struggle with offering depictions that are not human centred.
Research Interests:
Critics and creative workers have recently highlighted the lack of women working in British television comedy. Through thematic analysis of interviews with British television comedy professionals, this article explores how women talk... more
Critics and creative workers have recently highlighted the lack of women working in British television comedy. Through thematic analysis of interviews with British television comedy professionals, this article explores how women talk about their work and their position within the industry. Outlining the specific industrial contexts within which female comedy professionals work, the article examines institutionalised gender norms and practical impediments which the interviewees' responses reveal, while also exploring the institutional and personal initiatives which they have developed to address these problems.
Research Interests:
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... more
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 Encyclopedia of Humor Studies explores the concept of humor in history and modern society in the United States and internationally. This work’s scope encompasses the humor of children, adults, and even nonhuman primates throughout the... more
The Encyclopedia of Humor Studies explores the concept of humor in history and modern society in the United States and internationally. This work’s scope encompasses the humor of children, adults, and even nonhuman primates throughout the ages, from crude jokes and simple slapstick to sophisticated word play and ironic parody and satire. As an academic social history, it includes the perspectives of a wide range of disciplines, including sociology, child development, social psychology, life style history, communication, and entertainment media. Readers will develop an understanding of the importance of humor as it has developed globally throughout history and appreciate its effects on child and adult development, especially in the areas of health, creativity, social development, and imagination.
The promotional material for the Channel 4 documentary Special Needs Pets (2008) asks “how far are pet owners prepared to go when their pets develop special needs?”. The programme recounts the stories of a number of what the voice-over... more
The promotional material for the Channel 4 documentary Special Needs Pets (2008) asks “how far are pet owners prepared to go when their pets develop special needs?”. The programme recounts the stories of a number of what the voice-over refers to as “invalid animals”, and asks, “Do we love our pets too much?” In its use of music and voice-over, the programme encourages a confusingly comic response from its audience, who are invited to find funny both the behaviour of the animals featured and that of their owners. While not simplistically equating human and non-human notions of disability this article suggests exploring the comic aspect of the programme gives insights into human understandings of this category. It argues that while some aspects of the programme might be seen as encouraging audiences to find disability funny, the humour more often works to confuse readings of the programme’s content, and therefore, perhaps, opens up a space for a range of contradictory understandings of disability.
In the first full-length scholarly book on the comedy of Chris Morris, writers discuss his early DJ career, his pioneering radio satire, his television mockumentary, his experimental black comedy and his more recent move into film-making.... more
In the first full-length scholarly book on the comedy of Chris Morris, writers discuss his early DJ career, his pioneering radio satire, his television mockumentary, his experimental black comedy and his more recent move into film-making. No Known Cure approaches the work of Chris Morris from a diverse range of perspectives in order to fully grapple with his wide-ranging, groundbreaking media output.
Shane Meadows: Critical Essays is the first book on this widely admired filmmaker, and explores the full range of his work, from its origins in local no-budget D.I.Y. media through to international festival acclaim and multiple award... more
Shane Meadows: Critical Essays is the first book on this widely admired filmmaker, and explores the full range of his work, from its origins in local no-budget D.I.Y. media through to international festival acclaim and multiple award wins. Through a range of essays, it presents a comprehensive analysis of Shane Meadows’ oeuvre to date, situating his work in the context of British cinema history as well as wider cultural changes from the nineties to now.
In a wide-ranging interview, media studies academic Dr Brett Mills discusses speciesism, television presentations of animal behavour, and the reception of his own work in the mainstream media.
This article examines British television wildlife documentaries in order to outline the ways in which limited representations of animal behaviour recur. It focuses on representations of animal sexuality, monogamy and parenthood, and... more
This article examines British television wildlife documentaries in order to outline the ways in which limited representations of animal behaviour recur. It focuses on representations of animal sexuality, monogamy and parenthood, and suggests that how such activities are repeatedly represented draw on normalised human notions of such behaviour. This is demonstrated through comparison of these representations with literature from zoology and ethology, which shows that a considerably wider variety of animal behaviour has been documented. The article suggests that the discourses of sexuality, monogamy and parenthood are interrelated and interdependent, with the validity of each supported by the existence of the others. It is argued that how animals are represented in such documentaries matters, partly because normalised discourses must be drawn on in order for programmes to make sense of the behaviour they present, but mainly because animal behaviour is commonly used as evidence for ‘natural’ forms of human behaviour.
On June 7, 2010, UK media outlets reported that 9-month-old twins living in East London had been rushed to hospital following a 'suspected fox attack': the babies had been seriously injured. This story received sustained coverage for... more
On June 7, 2010, UK media outlets reported that 9-month-old twins living in East London had been rushed to hospital following a 'suspected fox attack': the babies had been seriously injured. This story received sustained coverage for several months, and became the focus of debate over the behaviour of urban foxes, and how they and humans should coexist. Using textual analysis to unravel the various discourses surrounding this moment, this paper discusses how the incident became such a prominent 'media event'. Alongside the contexts of the 'silly season' and a period of political transition, we argue that this incident breached a series of spatial boundaries that many societies draw between people and the 'natural world', from the 'safest space' of a child's cot, to the categorizations made about animals themselves. We discuss the consequences of such boundary breaches, pointing to a deep confusion over the assignment of responsibility for, and expertise about, the figure of the 'urban fox'.
This collection is the first book-length study dedicated to the British television series Life on Mars, the American remake, and its sequel, Ashes to Ashes. Stephen Lacey and Ruth McElroy bring together experts to engage critically with... more
This collection is the first book-length study dedicated to the British television series Life on Mars, the American remake, and its sequel, Ashes to Ashes. Stephen Lacey and Ruth McElroy bring together experts to engage critically with the series. Among the topics discussed are television in the national and international marketplace; genre and narrative; the series’ representation of the 1970s and its portrayal of 'British-ness'; and the impact of and the response to the series in the United States.
What happens if multiple different frameworks for examining comedy are used to explore one specific text? This special edition does this by analysing a Joan Rivers routine from 'Live at the Apollo' (BBC 2007). The papers in it are:... more
What happens if multiple different frameworks for examining comedy are used to explore one specific text? This special edition does this by analysing a Joan Rivers routine from 'Live at the Apollo' (BBC 2007). The papers in it are:
Roberta Mock, 'Really Jewish?: Joan Rivers and Live at the Apollo'
Sharon Lockyer, 'From Toothpick Legs to Dropping Vaginas: Gender and Sexuality in Joan Rivers' Stand-Up Comedy Performance'
Louise Peacock, 'Joan Rivers: Reading the Meaning'
Don Waisanen, 'Jokes Inviting more than Laughter: Joan Rivers' Political-Rhetorical World View'
Brett Mills, '"A Pleasure Working with You": Humour Theory and Joan Rivers'
Gerard Matte and Ian McFadyen, 'Can we Talk?: The Reframing of Social Permissions in the Comedy of Joan Rivers'
Sophie Quirk, 'Review: Joan Rivers - A Piece of Work'
Roberta Mock, 'Really Jewish?: Joan Rivers and Live at the Apollo'
Sharon Lockyer, 'From Toothpick Legs to Dropping Vaginas: Gender and Sexuality in Joan Rivers' Stand-Up Comedy Performance'
Louise Peacock, 'Joan Rivers: Reading the Meaning'
Don Waisanen, 'Jokes Inviting more than Laughter: Joan Rivers' Political-Rhetorical World View'
Brett Mills, '"A Pleasure Working with You": Humour Theory and Joan Rivers'
Gerard Matte and Ian McFadyen, 'Can we Talk?: The Reframing of Social Permissions in the Comedy of Joan Rivers'
Sophie Quirk, 'Review: Joan Rivers - A Piece of Work'
Research Interests:
This article uses humour theory to examine Joan Rivers’ performance in Live at the Apollo. It outlines the three main branches of humour theory (superiority, incongruity and relief) and examines specific comic moments from the performance... more
This article uses humour theory to examine Joan Rivers’ performance in Live at the Apollo. It outlines the three main branches of humour theory (superiority, incongruity and relief) and examines specific comic moments from the performance to show to what uses these theories can be put; in doing so, it foregrounds pleasure, and the relationship between joke-teller and audience, as the key paradigms in such an analysis. It concludes by discussing the similarities and differences between the three theories, and what might be achieved analytically by using them in conjunction with one another.
"The theme of this issue is a general exploration of the comedy audience, in both theoretical and empirical terms. The papers in it are: Lesley Harbidge, ''Audienceship and (Non)Laughter in the Stand-up Comedy of Steve Martin';... more
"The theme of this issue is a general exploration of the comedy audience, in both theoretical and empirical terms. The papers in it are:
Lesley Harbidge, ''Audienceship and (Non)Laughter in the Stand-up Comedy of Steve Martin';
Inger-Lise Kalviknes Bore, ''Reviewing Romcom: (100) IMDb Users and (500) Days of Summer';
Sharon Lockyer and Lynn Myers, ''‘It’s About Expecting the Unexpected’: Live Stand-up Comedy from the Audiences’ Perspective';
Richard McCulloch, ''‘Most People Bring Their Own Spoons’: The Room’s Participatory Audiences as Comedy Mediators';
Sophie Quirk, 'Containing the Audience: The ‘Room’ in Stand-Up Comedy';
Eve Smith, 'Selling Terry Pratchett's Discworld: Merchandising and the Cultural Economy of Fandom';
Simon Weaver, ''Definitions of the Humorous in Chris Rock and Russell Peters Fan Blogs: A Discussion of the Problem of Incongruity';
Nathan A. Wilson, 'Divisive Comedy: A Critical Examination of Audience Power'."
Lesley Harbidge, ''Audienceship and (Non)Laughter in the Stand-up Comedy of Steve Martin';
Inger-Lise Kalviknes Bore, ''Reviewing Romcom: (100) IMDb Users and (500) Days of Summer';
Sharon Lockyer and Lynn Myers, ''‘It’s About Expecting the Unexpected’: Live Stand-up Comedy from the Audiences’ Perspective';
Richard McCulloch, ''‘Most People Bring Their Own Spoons’: The Room’s Participatory Audiences as Comedy Mediators';
Sophie Quirk, 'Containing the Audience: The ‘Room’ in Stand-Up Comedy';
Eve Smith, 'Selling Terry Pratchett's Discworld: Merchandising and the Cultural Economy of Fandom';
Simon Weaver, ''Definitions of the Humorous in Chris Rock and Russell Peters Fan Blogs: A Discussion of the Problem of Incongruity';
Nathan A. Wilson, 'Divisive Comedy: A Critical Examination of Audience Power'."
Research Interests:
Introduction to the special edition of Participation: Journal of Audience and Reception Studies on 'Comedy and Audiences' (co-edited with Sam Friedman and Tom Phillips). This introduction outlines the specifics of studying comedy... more
Introduction to the special edition of Participation: Journal of Audience and Reception Studies on 'Comedy and Audiences' (co-edited with Sam Friedman and Tom Phillips). This introduction outlines the specifics of studying comedy audiences, with particular reference to recent debates about comedy on television.
Research Interests:
This article examines a number of programmes (The Day Britain Stopped; If...; Smallpox 2002: Silent Weapon; Panorama: London Under Attack; End Day; The Man Who Broke Britain) broadcast by the BBC at the beginning of this decade which,... more
This article examines a number of programmes (The Day Britain Stopped; If...; Smallpox 2002: Silent Weapon; Panorama: London Under Attack; End Day; The Man Who Broke Britain) broadcast by the BBC at the beginning of this decade which, using a documentary format, construct fictive histories of future dates. These are categorised here as ‘future documentaries’. Drawing on ongoing debates concerning definitions of documentary, it is argued that these programmes fulfil a documentary role both through their content and through their attempt to fulfil a social role akin to British ideas of public service broadcasting. It is also argued that these programmes help demonstrate the documentary’s relationship to history and role in constructing history. The article ends by proposing a rationale for the proliferation of these kinds of programmes at the beginning of this decade, suggesting that this was in response to both content and social changes in factual television in the UK as a whole.
Research Interests:
Through an analysis of the British comedy quiz show QI (BBC2/BBC4, 2003–7; BBC1, 2008–), this article examines how 'knowledge' as a discourse is constructed, maintained, and disseminated in popular television. The article draws on Michel... more
Through an analysis of the British comedy quiz show QI (BBC2/BBC4, 2003–7; BBC1, 2008–), this article examines how 'knowledge' as a discourse is constructed, maintained, and disseminated in popular television. The article draws on Michel Foucault's work on discourse as well as sociological analyses of education and knowledge from writers such as Karl Mannheim and Pierre Bourdieu. The analysis explores how being knowledgeable is performed, as well as how knowledge is related to issues of class and gender, particularly in a British context. The article argues that knowledge in QI is dependent on empiricism and posits that the value of knowledge is related to ideas of the civilized gentleman and 'appropriate' behavior. While acknowledging how participants in the programme may dissent against its discourses, the article concludes that, while the series may aim to undercut conventional ideas of education, it nevertheless resolutely upholds and promotes ideas of knowledge that sociologists have repeatedly demonstrated inevitably maintain social divisions and power hierarchies.
Since its return in 2005 the science fiction series Doctor Who has featured many alien creatures which bear a striking similarity to non-human Earth species: the Judoon in 'Smith and Jones' have heads like rhinoceroses; the nurses in New... more
Since its return in 2005 the science fiction series Doctor Who has featured many alien creatures which bear a striking similarity to non-human Earth species: the Judoon in 'Smith and Jones' have heads like rhinoceroses; the nurses in New Earth' are cats in wimples; the Tritovores in 'Planet of the Dead' are giant flies in boilersuits. Yet only one non-human animal has appeared twice in the series, in unrelated stories: the pig. This article examine the representation of the pig in the programme, exploring how its construction as a 'beast' means it can appear to be a horrific creature. However, the fact that the series also encourages empathetic with pigs, and pig/human hybrids, suggests that science fiction can be a significant arena for questions concerning speciesiem and human exceptionalism, particularly within post-humanist contexts.
A short piece exploring the language and reporting of the 'attack' of a fox on twins in the UK in June 2010. What does this news story tell us about our assumptions about other animals, urban/rural divisions, and ideas of space? And why... more
A short piece exploring the language and reporting of the 'attack' of a fox on twins in the UK in June 2010. What does this news story tell us about our assumptions about other animals, urban/rural divisions, and ideas of space? And why is the event reported as an 'attack'?
Through analysis of the writer, actor and comedian Rob Brydon, this article examines the performative role afforded to the comedian. The paper argues that the comedian occupies a space which, while drawing on representational processes... more
Through analysis of the writer, actor and comedian Rob Brydon, this article examines the performative role afforded to the comedian. The paper argues that the comedian occupies a space which, while drawing on representational processes similar to those for stars and celebrities is, in fact, of a sort all of its own. It is suggested that the fact that comedians can perform as themselves – even in texts which are quite clearly signalled as fiction – means that versions of themselves can multiply across texts, resulting in a version of the self which, while seemingly repeatedly confessional, may instead be nothing more than a performance. In showing how versions of Brydon recur across a range of texts and genres this article demonstrates the complexity of comic performance, and suggests that the specificities of comedy offer a ripe site for the field of celebrity studies.
There is television that gets watched and there is television that gets discussed: the two don’t necessarily coincide. This edition of Critical Studies in Television aims to highlight, explore and offer ways of thinking about those... more
There is television that gets watched and there is television that gets discussed: the two don’t necessarily coincide. This edition of Critical Studies in Television aims to highlight, explore and offer ways of thinking about those television programmes which, despite being long-running and consistently garnering significant audience ratings, are repeatedly ignored by the vast majority of academic work.
This analysis assumes that the fact that some television is invisible matters, because the ways in which television is talked about, analysed, discussed and taught, lead to a normalised understanding of what television is, what it is constituted of, what it does, who it is for, and what is done with it. This edition intends, then, to constitute a significant intervention into our activities and the ways we define and justify the things that we do as researchers, as scholars, as teachers and as a community.
This analysis assumes that the fact that some television is invisible matters, because the ways in which television is talked about, analysed, discussed and taught, lead to a normalised understanding of what television is, what it is constituted of, what it does, who it is for, and what is done with it. This edition intends, then, to constitute a significant intervention into our activities and the ways we define and justify the things that we do as researchers, as scholars, as teachers and as a community.
This article examines the BBC wildlife documentary series Nature's Great Events (2009) in order to investigate the ways in which such texts engage with (or ignore) debates about animal ethics, in particular, animals' right to privacy.... more
This article examines the BBC wildlife documentary series Nature's Great Events (2009) in order to investigate the ways in which such texts engage with (or ignore) debates about animal ethics, in particular, animals' right to privacy. Through analysis of the 'making of' documentaries that accompany the series, it shows how animals' right to privacy is turned into a challenge for the production teams, who use newer forms of technology to overcome species' desire not to be seen. The article places this analysis within the context of broadcasters' concerns over environmental issues, acknowledging that wildlife documentaries can play a vital role in engaging citizens in environmental debates. However, it is argued that the 'speciesism' which affords humans a right to privacy while disavowing other species such rights is one of the tenets upon which humanity's perceived right to maintain mastery over other species is itself maintained; that is, in order for wildlife documentaries to 'do good' they must inevitably deny many species the right to privacy.
Research Interests:
The publication of my paper on issues of animal privacy (see above) engendered some debate within the media and on newspaper websites, and The Guardian therefore asked if I would write a comment piece for their online edition outlining... more
The publication of my paper on issues of animal privacy (see above) engendered some debate within the media and on newspaper websites, and The Guardian therefore asked if I would write a comment piece for their online edition outlining the key arguments. The subsequent comments on the website suggest I didn't quite manage to convince many people of the validity of my position...
Looking at contemporary film and television, this book explores how popular genres frame our understanding of on-screen performance. It brings together ground-breaking and inspiring work on this topic from both renowned and newer... more
Looking at contemporary film and television, this book explores how popular genres frame our understanding of on-screen performance. It brings together ground-breaking and inspiring work on this topic from both renowned and newer academics in the field. Previous studies of screen performance have tended to fix upon star actors, directors, programme makers, or they have concentrated upon particular training and acting styles. Moving outside of these confines, this book provides a truly interdisciplinary account of performance in film and television and examines a much neglected area in our understanding of how popular genres and performance intersect on screen. Each chapter concentrates upon a particular genre or draws upon generic case studies in examining the significance of screen performance. Individual chapters examine contemporary film noir, horror, the biopic, drama-documentary, the western, science fiction, comedy performance in ‘spoof news’ programmes and the television sitcom and popular Bollywood films.
Little Britain arrived on British TV in 2003 - and was an instant hit. Matt Lucas and David Walliams wrote and performed, and their sharp satirical genius created this character-based sketch show - Vicky Pollard, Dafydd 'I'm the only gay... more
Little Britain arrived on British TV in 2003 - and was an instant hit. Matt Lucas and David Walliams wrote and performed, and their sharp satirical genius created this character-based sketch show - Vicky Pollard, Dafydd 'I'm the only gay in the village', Ting Tong Macadangdang are hard to forget. Its huge popularity as cult comedy on radio, then television, with its success as mainstream award-winning comedy and as a national and international TV phenomenon, have been tempered by criticism. It's pushed the boundaries of taste too far, some have claimed; it's grotesquely un-politically correct, mocks social groups and participates in the 'humour of humiliation' say others. Timely and comprehensive, this must-read book on Little Britain for fans and scholars is the first to provide lively critiques of the show by leading writers, who explore its appeal and dissect its controversies. They look into representations of gender, sexuality, race, disability and class, into sketch-show conventions, the art of the comedy catchphrase, audiences' responses and still more.
Existing analyses of the relationships between comedy and the nation commonly work from an assumption that nations have a sense of humour that in some way defines them, while comedy texts — such as those broadcast on television and radio... more
Existing analyses of the relationships between comedy and the nation commonly work from an assumption that nations have a sense of humour that in some way defines them, while comedy texts — such as those broadcast on television and radio — merely draw on these pre-existing phenomena (Richards, 1997). This article instead demonstrates a more complex relationship between the two, suggesting that broadcast comedy is an ‘invented tradition’ (Hobsbawm and Ranger, 1983), which has been one of the most powerful ways for nations to define themselves — often at the expense of the complexities and contradictions within any one nation state. Drawing on the idea that nations are ‘imagined communities’ (Anderson, 1983), this article takes the BBC as a case study, exploring the ways in which an understanding of the ‘British sense of humour’ has evolved in response to the needs of the nation.
Through analysis of the comedy programmes associated with Rob Brydon, this article explores the ways in which the Welsh are represented within UK-wide comedy programming. It distinguishes between two kinds of representation; ‘Welsh’ and... more
Through analysis of the comedy programmes associated with Rob Brydon, this article explores the ways in which the Welsh are represented within UK-wide comedy programming. It distinguishes between two kinds of representation; ‘Welsh’ and ‘from Wales’. In doing so it acknowledges the sitcoms of Boyd Clack which, despite their success in Wales, have not been broadcast across the whole of the UK. The article argues that this is a result of representational norms within comedy broadcasting, as well as the national inflections of the institutions of British television. It concludes by arguing for British television comedy to accept and present the specifics of regional and national humour differences in the UK.
This essay examines the Channel 4 sitcom Peep Show. The programme employs an innovative shooting style in which the audience is aligned with the characters' points-of-view, and also has access to the inner thoughts of its main... more
This essay examines the Channel 4 sitcom Peep Show. The programme employs an innovative shooting style in which the audience is aligned with the characters' points-of-view, and also has access to the inner thoughts of its main protagonists. It is argued that in distinguishing between social action and unrestrained subconscious thoughts the programme demonstrates the effects of social norms on behaviour. This idea is related to Foucault's notion of the panopticon, in which surveillance becomes an everyday aspect of contemporary living. The essay also shows how the particularities of the sitcom genre have always been about issues of looking and surveillance, and that the shooting style adopted by Peep Show may call the traditional audience positions offered by sitcoms into question.
Using life writing, this article examines my responses to seeing my house on television — during an episode of Torchwood filmed around Cardiff. The article explores the intersections between personal history, ideas of home and televisual... more
Using life writing, this article examines my responses to seeing my house on television — during an episode of Torchwood filmed around Cardiff. The article explores the intersections between personal history, ideas of home and televisual representation. It focuses on the ways in which personal knowledge affects readings of programmes; the relationships between tourists and residents; the emotive nature of responses to representations; and television's role as a recorder of locations. In doing so, the article attempts to bring together the personal and emotive nature of culture with ideas of identity, the media's role in society, and cultural and social change.
Genre is central to understanding the industrial context and the visual form of television. This new edition of a key textbook brings together leading international scholars to provide an accessible and comprehensive introduction to the... more
Genre is central to understanding the industrial context and the visual form of television. This new edition of a key textbook brings together leading international scholars to provide an accessible and comprehensive introduction to the debates, issues and concerns of television genre.
The discussion is illustrated throughout with case studies of classic and contemporary programming from each genre, ranging from The Sopranos to Bleak House and from Monty Python's Flying Circus to South Park. The second edition features new sections on reality tv, animation, prime time and day time tv, and new case studies of recent shows such as 24, CSI, The Office and The X Factor.
The discussion is illustrated throughout with case studies of classic and contemporary programming from each genre, ranging from The Sopranos to Bleak House and from Monty Python's Flying Circus to South Park. The second edition features new sections on reality tv, animation, prime time and day time tv, and new case studies of recent shows such as 24, CSI, The Office and The X Factor.
This article is a contribution to a special 'In Focus' section (edited by Dr Christine Cornea) of the Cinema Journal, on the practitioner interview as a research method in film and television studies. In the article I reflect on the... more
This article is a contribution to a special 'In Focus' section (edited by Dr Christine Cornea) of the Cinema Journal, on the practitioner interview as a research method in film and television studies. In the article I reflect on the methodological and ethical issues that arise after interviews have been undertaken, when the researcher decides how to use the material gathered. In particular, the article explores the responsibilities interviewers have towards their participants, particularly within the context of the needs of academic publishing.
Throughout its history, British television has found a place, if only in its margins, for programs that consciously worked to expand the boundaries of television aesthetics. Even in the present climate of increased academic interest in... more
Throughout its history, British television has found a place, if only in its margins, for programs that consciously worked to expand the boundaries of television aesthetics. Even in the present climate of increased academic interest in television history, its experimental tradition has generally either been approached generically or been lost within the assumption that television is simply a mass medium. Experimental British Television uncovers the history of experimental television, bringing back forgotten programmers in addition to looking at relatively more privileged artists or program strands from fresh perspectives.
So, what does happen when your home is on television? Using the depictions of Cardiff in the BBC series Torchwood, this article explores how, as a resident, it feels when places you know from your everyday life are depicted on television.... more
So, what does happen when your home is on television? Using the depictions of Cardiff in the BBC series Torchwood, this article explores how, as a resident, it feels when places you know from your everyday life are depicted on television. Using approaches taken from visual geography and tourism studies it examines how seeing places you have a personal, emotional and historical relationship with can contribute to, and complicate, ideas of self-identity.
Through an analysis of television series such as The Office, Marion and Geoff, and People Like Us this article explores recent changes in the look and content of much sitcom. Many such programmes have adopted a documentary look and,... more
Through an analysis of television series such as The Office, Marion and Geoff, and People Like Us this article explores recent changes in the look and content of much sitcom. Many such programmes have adopted a documentary look and, furthermore, function as mock-documentaries. In doing so, they find humour not only in different kinds of behaviour than that common to traditional sitcom, but also function as significant critiques of the relationships between film-makers and participants in real documentaries. This form is defined as 'comedy verite', and it is argued that this development in sitcom offers an interesting rebuttal to long-standing criticisms of the conservative nature of much television humour.
Something is happening in global sitcom.
Fifty Key Television Programmes offers a comprehensive and invaluable account of television from the perspective of the programmes themselves. From I Love Lucy to The Simpsons, from The Twlight Zone to The X-Files, from the moon landing... more
Fifty Key Television Programmes offers a comprehensive and invaluable account of television from the perspective of the programmes themselves. From I Love Lucy to The Simpsons, from The Twlight Zone to The X-Files, from the moon landing to the events of September 11th 2001, this book chronicles some of the most fascinating and influential shows and global events ever to hit the small screen. Accessible, stimulating and challenging; each entry will offer a basic guide to the history of the show, its textual and thematic context, its critical and popular reception, while also explaining and frequently reconsidering ways in which it may have been analysed in the past. Each entry is followed by questions designed to develop students' analytical skills and awareness of the key issues raised, while recommended readings and an extensive bibliography enable readers to carry out further research. Written by some of the leading names in the field, this book is an essential and indispensable guide for all those studying, or simply interested in, television and the programmes that have, literally, made television history.
Research Interests:
Research Interests:
Comedy is commonly understood as a social phenomenon, bringing people together through laughter. National television broadcasting systems similarly imply a collective view of the world. Thinking about comedy and television, therefore, can... more
Comedy is commonly understood as a social phenomenon, bringing people together through laughter. National television broadcasting systems similarly imply a collective view of the world. Thinking about comedy and television, therefore, can be a useful way into exploring how societies think about themselves and collective identities. This paper will explore these ideas through discussion of how comedy is regulated in British broadcasting, particularly by looking at complaints about offensive humour. Regulators have always had difficulty in defining what is and is not acceptable humour; one British regulator noted that comedy has 'a special freedom' which mitigates against what it does. But why is comedy thought about in this way, and what are the assumed limits of this 'freedom'? How does this 'freedom' relate to the specifics of broadcasting and the social roles comedy is required to play by television? And what are the cultural and social consequences of such a 'freedom'? Through detailed analysis of specific case studies, this paper hopes to investigate these questions, and outline the frameworks useful for the analysis of comedy, offence and taboo.