Edward Buscombe - Böcker

OXFORD TELEVISION STUDIES General Editors: Charlotte Brunsdon and John Caughie Oxford Television Studies offers international authors - both established and emerging - an opportunity to reflect on particular problems of history, theory, and criticism which are specific to television and which are central to its critical understanding. The perspective of the series will be international, while respecting the peculiarities of the national; it will be historical, without proposing simple histories; and it will be grounded in the analysis of programmes and genres. The series is intended to be 3oundational without being introductory or routine, facilitating clearly focused critical reflection and engaging a range of debates, topics, and approaches which will offer a basis for the development of television studies. British television has been a success story. One factor in this success has been the distinctive institutional structure of British broadcasting, a mix of state-regulated and publicly-funded services with commercial services. This book attempts to give a broad overview of British television by examining both the institutional framework and the programmes that it has produced. A range of reprinted writings from the work of acknowledged experts is supplemented by specially commissioned essays on such key topics as sport and British television in the global context. It will be a key text for all students taking courses on British television and broadcasting.

John Ford's Stagecoach, starring John Wayne in the part that made him a star, remains the most famous Western ever made. Shedding new light on an old favourite, this is an enjoyable account of how the film got made, combined with a careful scene-by-scene analysis, a wealth of illustrations and the most complete credits yet assembled.

John Ford's masterpiece The Searchers (1956) was voted the seventh greatest film of all time in Sight & Sound's most recent poll of critics. Its influence on many of America's most distinguished contemporary filmmakers, among them Martin Scorsese, Paul Schrader, and John Milius, is enormous. John Wayne's portrait of the vengeful Confederate Ethan Edwards gives the film a truly epic dimension, as does his long and lonely journey into the dark heart of America. Edward Buscombe's insightful study provides a detailed commentary on all aspects of the film, drawing on material in the John Ford archive at Indiana University, including Ford's own memos and the original script, which differs in vital respects from the film he made, to offer new insights into the film's production history.