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This book offers a historical, cultural, political and socio-economic analysis of the British media. It examines how facts and events are reported and interpreted, but also how ideas and opinions circulate and are recycled, with attention being paid to British traits and tropes in these domains. This in-depth study of “issues” and “singularity” aims at understanding how the British media have helped shape the country’s culture and representations, thereby providing its people with a sense of togetherness. Volume 1 focuses on the press, the internet and cinema as mass media, from the prolific and innovative Victorian era – the matrix of the modern world – to the turn of the 21st century with the challenge of digitalisation. Newspapers, magazines, films and music are studied as vehicles for fostering shared collective identities (“imagined communities”) and for projecting a certain image of Britain at home and abroad (“soft power”). Renée Dickason is Professor of British and Commonwealth studies at the University of Rennes, France. She has been a keen observer of British media for some thirty years. She is the author and (co-)editor of numerous publications on British social and cultural history, on war memories and on war representationsin the media. David Haigron is a Senior Lecturer in British Studies at the University of Rennes, France. He is the author and (co-)editor of numerous publications on political communication, popular culture and social representations in the media.

Motion pictures --- Digital media. --- British Film and TV. --- Digital and New Media. --- Great Britain.

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Stephen Glynn has produced a terrific book on British TV sitcom spinoff films. He writes clearly and concisely and with a demonstrable passion for the subject. He pulls off the difficult trick of bringing an impressive breadth of knowledge to this material while also communicating it in helpful and often amusing ways. -Paul Newland, University of Worcester This book constitutes the first full volume dedicated to an academic analysis of theatrically-released spinoff films derived from British radio and television sitcoms. Regularly maligned as the nadir of British film production and marginalised as a last resort for the financially-bereft industry during the 1970s, this study demonstrates that the sitcom spinoff film has instead been a persistent and important presence in British cinema from the 1940s to the present day, and includes works with distinct artistic merit. Alongside an investigation of theeconomic imperative underpinning these productions, i.e. the exploitation of a proven product with a ready-made audience, it is argued that, with a longevity stretching from Arthur Askey and his wartime Band Waggon (1940) to the crew of Kurupt FM and their recent People Just Do Nothing: Big in Japan (2021), the British sitcom spinoff can be interpreted as following a full generic ‘life cycle’. Starting with the ‘formative’ stage where works from Hi Gang! (1941) to I Only Arsked! (1958) establish the genre’s characteristics, the spinoff genre moves to its ‘classic’ stage where, secure for form and content, it enjoys considerable popular success with films like Till Death Us Do Part (1969), On the Buses (1971), The Likely Lads (1976) and Rising Damp (1980); the genre’s revival since the late-1990s reveals a more ‘parodic’ final stage, with films like The League of Gentlemen’s Apocalypse (2005) adopting a consciously self-reflective mode. It is also posited that the sitcom spinoff film is a viable source for social history, with the often-stereotypical re-presentations of characters and events an ideological metonym for the concerns of wider British society, notably in issues of class, race, gender and sexuality. Stephen Glynn lectures in Film and Television at De Montfort University, UK. He has published widely on British cinema and genre and previous volumes for Palgrave include The British Pop Music Film (2013), The British School Film (2016) and The British Football Film (2018).

Comedy films --- History and criticism. --- Television broadcasting. --- Motion pictures --- Comedy. --- Television Studies. --- British Film and TV. --- Comedy Studies. --- Great Britain.

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This book, a collection of essays by expert film researchers and lecturers, contributes to the growing body of scholarship on cinematic cities by looking at how one city—London—has been represented on film. In particular, the collection examines how films about London have responded to social, material and political change in the city, either by capturing and so influencing how we think about London, or by acting as catalysts (intentionally or otherwise) for public debate. Individual essays explore films ranging from the earliest actualities of the late nineteenth century to contemporary blockbusters. The book will appeal to film scholars and students, as well as to readers interested in the history of London and its changing image.

Hirsch, Pam. --- London (England) --- In motion pictures. --- Hirsch, Pamela --- Motion pictures-Great Britain. --- Ethnology-Europe. --- British Cinema and TV. --- Urban Geography / Urbanism (inc. megacities, cities, towns). --- British Culture. --- Motion pictures—Great Britain. --- Urban geography. --- Ethnology—Europe. --- Geography --- Motion pictures --- Sociology, Urban. --- Ethnology --- Culture. --- British Film and TV. --- Urban Sociology. --- Cultural sociology --- Culture --- Sociology of culture --- Civilization --- Popular culture --- Urban sociology --- Cities and towns --- Great Britain. --- Social aspects

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This book brings film adaptation of literature to bear on the question of how nineteenth-century imperial ideologies of progress continue to inform power inequalities in a global capitalist age. Not simply the promotion of general betterment for all, improvement in the British colonial context licensed a superior “master race” to “uplift” its colonized populations—morally, socially, and economically. This book argues that, on the one hand, film adaptations of nineteenth-century novels reveal the arrogance and coercive intentions that underpin contemporary notions of development, humanitarianism, and modernity—improvement’s post-Victorian guises. On the other hand, the book also argues that the films use their nineteenth-century source texts to criticize these same legacies of imperialism. By bringing together film adaptation, postcolonial theory, and literary studies, the book demonstrates that adaptation, as both method and cultural product, provides a way to engage with the baggage of ideological heritage in our contemporary global media environment. Vivian Y. Kao is Assistant Professor of Composition in the Department of Humanities, Social Sciences, and Communication at Lawrence Technological University, USA. .

Motion pictures. --- Literature, Modern—19th century. --- Motion pictures—History. --- Motion pictures—United States. --- Motion pictures—Great Britain. --- Adaptation Studies. --- Nineteenth-Century Literature. --- Film History. --- American Cinema and TV. --- British Cinema and TV. --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History and criticism --- English fiction --- Film adaptations --- History and criticism. --- Adaptation (Literary, artistic, etc.). --- Literature, Modern --- Motion pictures --- Motion pictures, American. --- Film and TV History. --- American Film and TV. --- British Film and TV. --- American motion pictures --- Moving-pictures, American --- Foreign films --- Literature --- Arts --- Inspiration --- 19th century. --- History. --- Great Britain.

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Neo-Victorian Madness: Rediagnosing Nineteenth-Century Mental Illness in Literature and Other Media investigates contemporary fiction, cinema and television shows set in the Victorian period that depict mad murderers, lunatic doctors, social dis/ease and madhouses as if many Victorians were “mad.” Such portraits demand a “rediagnosing” of mental illness that was often reduced to only female hysteria or a general malaise in nineteenth-century renditions. This collection of essays explores questions of neo-Victorian representations of moral insanity, mental illness, disturbed psyches or non-normative imaginings as well as considers the important issues of legal righteousness, social responsibility or methods of restraint and corrupt incarcerations. The chapters investigate the self-conscious re-visions, legacies and lessons of nineteenth-century discourses of madness and/or those persons presumed mad rediagnosed by present-day (neo-Victorian) representations informed by post-nineteenth-century psychological insights. .

Mental illness on television. --- Mental illness in motion pictures. --- Historical fiction --- Mental illness in literature. --- History and criticism. --- Insanity in literature --- Psychopathology in literature --- Motion pictures --- Television --- Literature, Modern—20th century. --- Literature, Modern—21st century. --- Literature, Modern—19th century. --- Gothic fiction (Literary genre). --- Motion pictures. --- Motion pictures—Great Britain. --- History. --- Contemporary Literature. --- Nineteenth-Century Literature. --- Gothic Fiction. --- Adaptation Studies. --- British Cinema and TV. --- History of Science. --- Annals --- Auxiliary sciences of history --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Gothic horror tales (Literary genre) --- Gothic novels (Literary genre) --- Gothic romances (Literary genre) --- Gothic tales (Literary genre) --- Romances, Gothic (Literary genre) --- Detective and mystery stories --- Horror tales --- Suspense fiction --- History and criticism --- Literature, Modern --- Fiction. --- Adaptation (Literary, artistic, etc.). --- Science --- Fiction Literature. --- British Film and TV. --- Arts --- Inspiration --- Literature --- Fiction --- Metafiction --- Novellas (Short novels) --- Novels --- Stories --- Novelists --- 20th century. --- 21st century. --- 19th century. --- Great Britain. --- Philosophy