Undertaking a thorough and timely investigation of the relationship between television and cinema in Britain since 1990, Hannah Andrews explores the convergence between the two forms, at industrial, cultural and intermedial levels, and the ways in which the media have also been distinguished from one another through discourse and presentation.
Undertaking a thorough and timely investigation of the relationship between television and cinema in Britain since 1990, Hannah Andrews explores the convergence between the two forms, at industrial, cultural and intermedial levels, and the ways in which the media have also been distinguished from one another through discourse and presentation.
Hannah Andrews is Lecturer in Film and Television Studies at the University of York, UK. She completed her PhD at the University of Warwick, UK, and was subsequently an Early Career Fellow at Warwick's Institute of Advanced Study.
Inhaltsangabe
Introduction: The Contexts of Convergence 1. Film and Television Drama: The Making of a Relationship 2. Television as Film, Film as Television: Broadcasting cinema in the 1990s 3. Commercialism and Quality: Television Institutions and the British Film Industry, 1998 - 2002 4. Digital Departures: Television Institutions and Low-budget Production 5. 'Great Films You Know, Great Films You Don't': The Birth and Life of the FilmFour Digital Channel 6. New Logics of Convergence: Film Through Online Television 7. Conclusion: Convergence and Divergence Now Bibliography Notes
Introduction: The Contexts of Convergence 1. Film and Television Drama: The Making of a Relationship 2. Television as Film, Film as Television: Broadcasting cinema in the 1990s 3. Commercialism and Quality: Television Institutions and the British Film Industry, 1998 - 2002 4. Digital Departures: Television Institutions and Low-budget Production 5. 'Great Films You Know, Great Films You Don't': The Birth and Life of the FilmFour Digital Channel 6. New Logics of Convergence: Film Through Online Television 7. Conclusion: Convergence and Divergence Now Bibliography Notes
Introduction: The Contexts of Convergence 1. Film and Television Drama: The Making of a Relationship 2. Television as Film, Film as Television: Broadcasting cinema in the 1990s 3. Commercialism and Quality: Television Institutions and the British Film Industry, 1998 - 2002 4. Digital Departures: Television Institutions and Low-budget Production 5. 'Great Films You Know, Great Films You Don't': The Birth and Life of the FilmFour Digital Channel 6. New Logics of Convergence: Film Through Online Television 7. Conclusion: Convergence and Divergence Now Bibliography Notes
Introduction: The Contexts of Convergence 1. Film and Television Drama: The Making of a Relationship 2. Television as Film, Film as Television: Broadcasting cinema in the 1990s 3. Commercialism and Quality: Television Institutions and the British Film Industry, 1998 - 2002 4. Digital Departures: Television Institutions and Low-budget Production 5. 'Great Films You Know, Great Films You Don't': The Birth and Life of the FilmFour Digital Channel 6. New Logics of Convergence: Film Through Online Television 7. Conclusion: Convergence and Divergence Now Bibliography Notes
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