Titlebook: British Television Drama; Past, Present and Fu Jonathan Bignell (Professor of Television and Film Book 2014Latest edition Palgrave Macmilla

Forestall

書目名稱British Television Drama影響因子(影響力)




書目名稱British Television Drama影響因子(影響力)學科排名




書目名稱British Television Drama網(wǎng)絡公開度




書目名稱British Television Drama網(wǎng)絡公開度學科排名




書目名稱British Television Drama被引頻次




書目名稱British Television Drama被引頻次學科排名




書目名稱British Television Drama年度引用




書目名稱British Television Drama年度引用學科排名




書目名稱British Television Drama讀者反饋




書目名稱British Television Drama讀者反饋學科排名

Offensive

說明

聚集

https://doi.org/10.1007/978-3-642-97248-5pectives on the development of UK television drama in the latter part of the twentieth century. Whilst there was a particular focus on the institutions, practices and personnel of the so-called ‘Golden Age’ of the 1960s and 1970s — reflecting the conference from which several of the contributions ca

epinephrine

BIPED

Dislocation

Produkt-, Sortiments- und Servicepolitik, I was given my first job as assistant story editor, in 1960, by the now legendary Sydney Newman.. I had sent Sydney a children’s serial which I had written about the first settlers in Virginia. In retrospect, it was hardly a subject likely to appeal to a man of his tastes, but it got me an intervie

雜役

Produkt-, Sortiments- und Servicepolitik,er and director in the 1960s and 1970s.. I ought to say at the outset that I was probably the main progenitor of the theory that the late fifties and the sixties were the ‘Golden Age’ of television, in an account I gave for the first MacTaggart lecture.. I would love everybody who got that phrase fr

獨行者

Communal

Gerald Corbae,Jakob B. Jensen,Dirk Schneider saw, with the launch of Channel 4, the first episode of . (1982–2003), the programme my name would probably become best known for, alongside . (BBC 1978–2008) and . (Channel 4 1995–). Yet, both my own and . backstory began almost 40 years earlier. Not in my native Liverpool, but in Tokyo Bay, on th