Titlebook: Independent Television Production in the UK; From Cottage Industr David Lee Book 2018 The Editor(s) (if applicable) and The Author(s) 2018

formation

書目名稱Independent Television Production in the UK影響因子(影響力)




書目名稱Independent Television Production in the UK影響因子(影響力)學(xué)科排名




書目名稱Independent Television Production in the UK網(wǎng)絡(luò)公開度




書目名稱Independent Television Production in the UK網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱Independent Television Production in the UK被引頻次




書目名稱Independent Television Production in the UK被引頻次學(xué)科排名




書目名稱Independent Television Production in the UK年度引用




書目名稱Independent Television Production in the UK年度引用學(xué)科排名




書目名稱Independent Television Production in the UK讀者反饋




書目名稱Independent Television Production in the UK讀者反饋學(xué)科排名

instill

The Creation of the Independent Sector in the UKly British independents. It is a complex history, which involves examination of the lengthy, conflict-riven political and cultural battle over Channel 4, and the new publishing model in broadcasting that it introduced. The early production companies that were created at this time are unrecognisable

弄臟

New Labour, Creative Industries Policy and the Rise of the ‘Mega-Indies’ and development, in particular under New Labour. There has been a rapid commercialisation of the sector during this period, in part because of regulatory change. In the last ten years, independent production companies have become ever more global in terms of structure, outlook and business relation

緯度

hazard

Working in the Indies: Precarity, Value and Burnoutbased on qualitative research carried out with television workers in the mid-2000s, who were re-interviewed in 2016 and 2017. Focusing on the precarious nature of cultural work in the indie sector, the chapter explores the psychosocial experiences of participants, as they wrestle with the psychologi

Condense

激怒

FECT

fastness

GUMP

New Labour, Creative Industries Policy and the Rise of the ‘Mega-Indies’e, the chapter details the changes to the independent sector since 1997. In so doing, it provides a critical framework for assessing the rapid commercialisation of the television industry during the New Labour period and beyond.