Titlebook: British Youth Television; Transnational Teens, Faye Woods Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 Teenager.Televisio

Limousine

惡心

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

紡織品

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

沙發(fā)

保存

可轉(zhuǎn)變

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

過(guò)份

disrupt

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 .

alliance

整潔漂亮

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 ..