Brett Mills – författare

What is it like to make television comedy? How do writers get their ideas made, and how do commissioners and producers decide what to make? How do members of the comedy industry work with large broadcasters and production companies, and what does it mean to be creative – and stay creative? Drawing on interviews with many key writers such as Sam Bain, Paul Doolan, Graham Linehan, David Mitchell, Simon Nye and Sue Teddern, producers including Ash Atalla, Lisa Clark, Michelle Farr, Ali McPhail, Jon Plowman and Adam Tandy, and commissioners, the BBC’s Shane Allen, Channel 4’s Nerys Evans and Sky’s Lucy Lumsden, Creativity in the British Television Comedy Industry explores the creative processes that lead to successful programme-making. With detailed discussion of the processes by which series such as People Just Do Nothing and After Hours came to our screens, this book examines how members of the comedy industry maintain careers, manage failure, develop their craft, and stay creative. Creativity in the British Television Comedy Industry is essential reading for students and researchers with an interest in comedy studies, television production, and the creative/media industries.

This volume explores various connections between animals and landscapes, challenging traditional anthropocentric framings and acknowledging the agency of other-than-human species in shaping human surroundings.A critical departure from traditional perspectives, Animals and Landscapes challenges the prevalent anthropocentric and ocularcentric approaches to the scenic landscape. Instead, the contributors adopt a multispecies lens, prioritising the more-than-human and illuminating the intricate relationships between bodies, actions, and place. The chapters navigate a range of environments, exploring visual and aesthetic experiences as well as the entanglements of place, action, bodies and subjectivities. In doing so the authors discuss historical, geographical, social, economic, and cultural frameworks that shape landscapes, revealing the often-ignored agency of non-human species.Moving beyond human-centric framings of landscapes, it acknowledges the active role that other species play in shaping, using, and producing these environments. Central to this thematic exploration is the idea that animals have their own geographies and act as place-making agents. Underscoring the dynamic role animals play in shaping the spaces they inhabit, this volume encourages a re-evaluation of the narratives that have predominantly marginalised the role of animals in shaping our understanding of place.This interdisciplinary book will appeal to academics and students of sociology, visual culture, geography, and cultural studies, film, and media and television studies with interests in landscape studies and human-animal studies.The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

This book is the first in-depth study of the representation of animals on television. This book will be of interest to readers exploring media studies, contemporary television, animal studies, and debates about representation.

What does the Frankfurt School have to say about the creative industries? Does the spread of Google prove we now live in an information society? How is Madonna an example of postmodernism? How new is new media? Does the power of Facebook mean we're all media makers now?This groundbreaking volume – part reader, part textbook - helps you to engage thoroughly with some of the major voices that have come to define the landscape of theory in media studies, from the public sphere to postmodernism, from mass communication theory to media effects, from production to reception and beyond. But much more than this, by providing assistance and questions directly alongside the readings, it crucially helps you develop the skills necessary to become a critical, informed and analytical reader. Each reading is supported on the facing page by author annotations which provide comments, dissect the arguments, explain key ideas and terminology, make references to other relevant material, and pose questions that emerge from the text.Key features: Opening chapters: ‘What is theory?’ and ‘What is reading?’ bring alive the importance of both as key parts of media scholarship Pre-reading: substantial Introductory sections set each text and its author in context and show the relevance of the reading to contemporary culture Post-reading: Reflection sections summarise each reading’s key points and suggests further areas to explore and think about 4 types of annotations help you engage with the reading – context, content, structure, and writing style …. as well as questions to provoke further thought Split into 4 sections – Reading theory, Key thinkers and schools, Approaches and Media Theory in context New to the second edition: New chapters on New Media, and Audiences as Producers Reading Media Theory will assist you in developing close-reading and analytic skills. It will also increase your ability to outline key theories and debates, assess different case studies critically, link theoretical approaches to a particular historical context, and to structure and present an argument. As such, it will be essential reading for undergraduate and postgraduate students of media studies, cultural studies, communication studies, the sociology of the media, popular culture and other related subjects.

What is it like to make television comedy? How do writers get their ideas made, and how do commissioners and producers decide what to make? How do members of the comedy industry work with large broadcasters and production companies, and what does it mean to be creative – and stay creative? Drawing on interviews with many key writers such as Sam Bain, Paul Doolan, Graham Linehan, David Mitchell, Simon Nye and Sue Teddern, producers including Ash Atalla, Lisa Clark, Michelle Farr, Ali McPhail, Jon Plowman and Adam Tandy, and commissioners, the BBC’s Shane Allen, Channel 4’s Nerys Evans and Sky’s Lucy Lumsden, Creativity in the British Television Comedy Industry explores the creative processes that lead to successful programme-making. With detailed discussion of the processes by which series such as People Just Do Nothing and After Hours came to our screens, this book examines how members of the comedy industry maintain careers, manage failure, develop their craft, and stay creative. Creativity in the British Television Comedy Industry is essential reading for students and researchers with an interest in comedy studies, television production, and the creative/media industries.