標(biāo)題: Titlebook: British Youth Television; Transnational Teens, Faye Woods Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 Teenager.Televisio [打印本頁] 作者: Jackson 時間: 2025-3-21 19:06
書目名稱British Youth Television影響因子(影響力)
作者: 的闡明 時間: 2025-3-21 22:07 作者: 疾馳 時間: 2025-3-22 01:27 作者: echnic 時間: 2025-3-22 05:16
Book 2016ng BBC Three, .My Mad Fat Diary., .The Inbetweeners., .Our War. and .Made in Chelsea., amongst others; Woods identifies a television that is defiantly British, yet also has a complex transatlantic relationship with US teen TV. This book creates a space for British voices in an academic and cultural landscape dominated by the American teenager.?. .作者: 輕率的你 時間: 2025-3-22 10:47 作者: Spirometry 時間: 2025-3-22 16:08
Conclusion: A Short-Form Future?a realm previously dominated by the American teenager and their high school stories, their college campuses and their first steps into an adult world. It has marked out the territory, pushed British youth programming to the foreground and argued for its importance.作者: 隱藏 時間: 2025-3-22 19:35
Book 2016ystem targeting teens and twenty somethings, chronicling a period of significant industrial change in the early 21st century. .British Youth Television. offers a snapshot of the complexities of contemporary television from a British standpoint — youth-focused programming that blossomed in the commer作者: 挑剔小責(zé) 時間: 2025-3-23 00:08 作者: 我不重要 時間: 2025-3-23 05:07 作者: 毀壞 時間: 2025-3-23 05:59 作者: 平淡而無味 時間: 2025-3-23 11:36 作者: 大氣層 時間: 2025-3-23 16:32
Youth Factual: First Person, Peer Address and Interaction-long ‘Defying the Label’ season for 2015. This sought to ‘challenge the views of [its] savvy audiences whilst questioning perspectives and attitudes towards young disabled people in the UK today’ (No author 2015). Encompassing 15 programmes examining life for young British people living with disabi作者: 不給啤 時間: 2025-3-23 21:19 作者: DAMN 時間: 2025-3-24 00:15 作者: 不足的東西 時間: 2025-3-24 04:59 作者: 構(gòu)成 時間: 2025-3-24 07:09
http://image.papertrans.cn/b/image/191203.jpg作者: 誹謗 時間: 2025-3-24 11:29
Marketing auf konzerninternen Wissensm?rktenite-brick terraced houses. The screen splits and the right-hand side fills with a sunlit lakeside, packed with partying, laughing, tanned teenagers clad in shorts and bikinis. We cut to the right as the Brits crane forward and gaze in confusion and wonder at the mirage of American leisure. Their gre作者: Precursor 時間: 2025-3-24 17:30
Wissensmanagement bei der Robert Bosch GmbH,ic. These are the spaces that shape the voice of British youth television. Using industrial analysis, I track the last 15 years of provision, which is a period that saw significant shifts in the British television landscape as terrestrial broadcasters expanded their reach through niche digital chann作者: 非秘密 時間: 2025-3-24 20:30 作者: 暗語 時間: 2025-3-25 01:53
Wissensmanagement bei der Robert Bosch GmbH,rted US texts. But this is not a one-way relationship, as the US 2011–2012 television season debuted three adaptations of British youth drama’s first wave. . (E4, 2007–2013), . (E4, 2008–2010) and . (BBC Three, 2008–2013) were translated by basic cable channels MTV and Syfy, and became part of a lon作者: Limousine 時間: 2025-3-25 05:12 作者: 惡心 時間: 2025-3-25 11:29
Preisvariationen bei heterogener Konkurrenzhe 16–34-year-old demographic together with its relatively low budgets (particularly in comparison with the development of original drama) have made it valuable in developing audiences for emerging digital youth channels. The celebrity docusoaps chronicling the lifestyle of former glamour model Kati作者: 紡織品 時間: 2025-3-25 14:43
https://doi.org/10.1007/978-3-322-88012-3l into Channel 4). A voice emerges from its programming that is both defiantly British, shaped by national televisual traditions, but also coloured with perhaps a hint of an American accent. From this analysis emerge different visions of British youth, from superheroes under ASBOs, to soldiers in ba作者: 沙發(fā) 時間: 2025-3-25 18:08 作者: 保存 時間: 2025-3-25 23:21 作者: 可轉(zhuǎn)變 時間: 2025-3-26 00:52
Made in Britain: Mapping British Youth Televisionme on over to ., new British drama starts 27 July on E4’. Left is Britain: dull, grey, rainy, elderly. Right is America: youth, sunshine, leisure and the potential of sex. The trailer introduces . (E4, 2011–2012), a dramedy as ‘laddishly’ juvenile as the lazily punning title suggests, which follows 作者: 過份 時間: 2025-3-26 07:27 作者: disrupt 時間: 2025-3-26 09:17
Teen TV Translations: Across the Pondence between American and British youth representations. As a result, I focus on the two MTV translations over Syfy’s . (2011–2014), as the latter was assimilated into the channel’s telefantasy norm rather than defined as a youth text. In examining the critical and industrial discourse surrounding .作者: alliance 時間: 2025-3-26 14:34 作者: 整潔漂亮 時間: 2025-3-26 18:43
Structured Reality: Designer Clothes, Fake Tans, Real Drama?.) and E4’s . (2011–). Here the highly successful format of MTV’s . (2004–2006) and . (2006–2010) was appropriated and glocalised to suit British audiences and channel identities, forming part of the transatlantic flows traced in Chapter ..作者: Cabinet 時間: 2025-3-26 22:14 作者: CANT 時間: 2025-3-27 04:07
Marketing auf konzerninternen Wissensm?rktenme on over to ., new British drama starts 27 July on E4’. Left is Britain: dull, grey, rainy, elderly. Right is America: youth, sunshine, leisure and the potential of sex. The trailer introduces . (E4, 2011–2012), a dramedy as ‘laddishly’ juvenile as the lazily punning title suggests, which follows 作者: 史前 時間: 2025-3-27 07:53
Wissensmanagement bei der Robert Bosch GmbH,new. Similar discourses positioned computer games, home video rentals and satellite television’s music channels as competitors to terrestrial television in the 1980s and beyond (Frith 1993, 69). Through a series of case studies, this chapter charts how the British television industry has chased and 作者: 釋放 時間: 2025-3-27 12:58 作者: Scleroderma 時間: 2025-3-27 16:21
https://doi.org/10.1007/978-3-322-88012-3ocess outlined in Chapter .) and in the face of the Conservative government’s hostile Green Paper, which launched an exploration of the future of the BBC (Plunkett 2015). This was BBC Three’s biggest factual season yet and it served to assert the channel’s value in the public sphere in an uncertain 作者: Reservation 時間: 2025-3-27 18:32 作者: Keratectomy 時間: 2025-3-28 00:47 作者: 擔(dān)憂 時間: 2025-3-28 05:03
