Titlebook: British Television Animation 1997-2010; Drawing Comic Tradit Van Norris Book 2014 Palgrave Macmillan, a division of Macmillan Publishers Li

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書目名稱British Television Animation 1997-2010影響因子(影響力)學(xué)科排名




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書目名稱British Television Animation 1997-2010網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱British Television Animation 1997-2010被引頻次




書目名稱British Television Animation 1997-2010被引頻次學(xué)科排名




書目名稱British Television Animation 1997-2010年度引用




書目名稱British Television Animation 1997-2010年度引用學(xué)科排名




書目名稱British Television Animation 1997-2010讀者反饋




書目名稱British Television Animation 1997-2010讀者反饋學(xué)科排名

蓋他為秘密

Roland Mattmüller,Julia Elspa?,Julia Matheisow have to negotiate a far more complex set of hurdles. When writer/actor Jessica Hynes constructed a sitcom about the early suffragette movement (the 2013 .) it appeared that the only way forward was now (curiously) backwards and the only way this project could be executed was to use 1970s sitcom .

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Introduction,-quantified aspect of UK TV animation. This is a necessary book that explores an evolution of British television mainstream animation and an intersection that took place within a contemporary UK TV scheduling culture. For as the 20th century moved into the 21st, a range of comic animations emerged o

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,From There to Here — First, Second and Third Wave Animation, so this chapter will perform a slightly different function from the ones that follow, in that it will be focused more on an overview of distinct periods of production and will define what typifies each of these eras. Here we will discuss three definite movements as part of a historical framework de

削減

,A Quotation of Normality — The Family Myth,animation becomes more self-conscious, more explicitly fixated on inter- and extra-textual modes within narratives and embraces a permeable, detached sense of distance and irony. When these factors are measured against the abandonment of social and cultural progression that underpinned the previous

Magnificent

,‘C’mon Mum, Monday Night Is Jihad Night’ — Race and Nostalgia,links with earlier television forms. Over the next few chapters, we will ask how gender, class, race, and cultural and societal values are framed throughout this era of production (1997–2010). In this particular chapter, I will focus on how ethnic minorities are presented and how this deployment ref

ESO

使成整體

,Sacred Territory — Faith, Satire and the Third Wave,ceptability. But in this alliance with confrontation, as a device, these developments exhibited a strangely contradictory impulse at its core. Evidently in thrall to US shows like . and ., which had shown what could be achieved in this medium in terms of ratings and cultural importance, these UK TV

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