British Youth Television is the first book to concentrate on the high profile genre of "yoof television." Concentrating on such controversial programs as The Word, Snub TV and Don't Forget Your Toothbrush, the author demonstrates how the contemporary youth audience--the so-called Generation X--were addressed by these shows' blend of "cynicism and enchantment." Providing both an overview and a series of detailed program analyses the book concentrates on a well-known but little written about genre from a fresh and accessible perspective.

The Feminist, the Housewife, and the Soap Opera traces the history of the feminist engagement with soap opera using a wide range of sources from programme publicity to interviews with key scholars. The book reveals that feminist scholarship on soap opera was a significant site of which the identity 'feminist intellectual' was produced in dialogue with her imagined other, the soap opera watching housewife. The book integrates personal autobiographical accounts within a broader history which traces both the move from 'women's liberation' to 'Feminism', and the acceptance of soap opera as a...

Why is talk about television forbidden at Montessori schools? Why does a mother feel guilty about watching Star Trek in front of her four-year-old child? Why would retired men turn to daytime soap operas for entertainment? Cliches about television mask the complexity of our relationship to media technologies. Through a range of fascinating case studies, Ellen Seiter explains what audience research tells us about the uses of technologies in the domestic sphere and the classroom, the relationship between gender and genre, and the varied interpretation of media technologies and media forms.
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Why is talk about television forbidden at certain schools? Why does a mother feel guilty about watching Star Trek in front of her four-year-old child? Why would retired men turn to daytime soap operas for entertainment? Cliches about television mask the complexity of our relationship to media technologies. Through case studies, the author explains what audience research tells us about the uses of technologies in the domestic sphere and the classroom, the relationship between gender and genre, and the varied interpretation of media technologies and media forms. Television and New Media...

New Media and Popular Imagination places the current technological upheaval in audio-visual culture in the context of previous periods of twentieth-century media innovation. Examining popular and industry responses to the introduction of radio, television, and digital media into the home, the book underscores the continuities and disjunctions in the ways in which electronic media have been anticipated, promoted, and resisted in twentieth-century America.

New Media and Popular Imagination places the current technological upheaval in audio-visual culture in the context of previous periods of twentieth-century media innovation. Examining popular and industry responses to the introduction of radio, television, and digital media into the home, the book underscores the continuities and disjunctions in the ways in which electronic media have been anticipated, promoted, and resisted in twentieth-century America.

Television as we know it was invented through processes of trial and error. This book delivers the uncertainties and excitements of 1955-65 by looking at women's programs, current affairs, and popular drama. Programs had to be devised and the mass audience built. Though women were central to this audience their images were often demeaning, in line with fifties paternalism. Janet Thumim brilliantly illuminates television's role in Britain of the 50s and 60s, revealing the interplay of media and the feminine.

This book, the first academic study of its kind, uncovers a history of the child television audience. Looking in detail at children's television and its audience in Britain in the 1940s, 1950s, and 1960s, the book shows how an audience literally came into being, how it was given substance, and how it became the site of intervention.

OXFORD TELEVISION STUDIES
General Editors: Charlotte Brunsdon and John Caughie

Oxford Television Studies offers international authors--both established and emerging--an opportunity to reflect on particular problems of history, theory, and criticism which are specific to television and which are central to its critical understanding. The perspective of the series will be international, while respecting the peculiarities of the national; it will be historical, without proposing simple histories; and it will be grounded in the analysis of programs and genres. The series is intended...

Television Drama offers an account of British television drama from its origins in live studio drama in the prewar and immediate postwar years, through the Golden Age of the single play of the 1960s and 1970s, to its convergence with an emerging British art cinema in the 1990s.