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Television and British cinema : = convergence and divergence since 1990 /

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Television and British cinema :/ Hannah Andrews.
Reminder of title:	convergence and divergence since 1990 /
Author:	Andrews, Hannah,
Description:	1 online resource.
Subject:	1900 - 2099 -
Subject:	Motion pictures - History - 20th century. - Great Britain -
Subject:	Great Britain. -
Online resource:	http://www.palgraveconnect.com/doifinder/10.1057/9781137311177
ISBN:	1137311177 (electronic bk.)

Television and British cinema : = convergence and divergence since 1990 /
Andrews, Hannah,

Television and British cinema :convergence and divergence since 1990 /Hannah Andrews. - 1 online resource.

Includes bibliographical references.

Introduction: The Contexts of Convergence -- 1.Film and Television Drama: The Making of a Relationship -- 2.Television as Film, Film as Television: Broadcasting cinema in the 1990s -- 3.Commercialism and Quality: Television Institutions and the British Film Industry, 1998 - 2002 -- 4.Digital Departures: Television Institutions and Low-budget Production -- 5.'Great Films You Know, Great Films You Don't': The Birth and Life of the FilmFour Digital Channel -- 6.New Logics of Convergence: Film Through Online Television -- 7.Conclusion: Convergence and Divergence Now.

Hannah Andrews provides a timely and thorough investigation of the changing relationship between television and cinema in Britain since 1990. She explores the process of convergence, in terms of both the intermedial relationship between closely related cultural forms, and the involvement of institutions of television in the British film industry. Rather than view convergence as a byproduct of digitalization, Andrews argues for a longer history of analogue convergence, manifested in, for example, the use of television as an alternative exhibition platform for British cinema, or the broadcast of feature-length filmed television dramas traditionally conceptualized as 'plays' rather than films. "Television and British Cinema" demonstrates how these processes of convergence have been met with equally strong rhetorical 'divergence', the use of presentational devices or discursive framing to distinguish film from television. The book discusses the role of television institutions in these processes, focusing on a period in which the relationship between film and television in the UK developed into a symbiosis.

ISBN: 1137311177 (electronic bk.)

Source: 660611Palgrave Macmillanhttp://www.palgraveconnect.comSubjects--Chronological Terms:

1900 - 2099
Subjects--Topical Terms:

835463
Motion pictures
--History--Great Britain--20th century.Subjects--Geographical Terms:

556574
Great Britain.
Index Terms--Genre/Form:

554714
Electronic books.

LC Class. No.: PN1992.3.G7

Dewey Class. No.: 791.450941

Television and British cinema : = convergence and divergence since 1990 /
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505 0 $a Introduction: The Contexts of Convergence -- 1.Film and Television Drama: The Making of a Relationship -- 2.Television as Film, Film as Television: Broadcasting cinema in the 1990s -- 3.Commercialism and Quality: Television Institutions and the British Film Industry, 1998 - 2002 -- 4.Digital Departures: Television Institutions and Low-budget Production -- 5.'Great Films You Know, Great Films You Don't': The Birth and Life of the FilmFour Digital Channel -- 6.New Logics of Convergence: Film Through Online Television -- 7.Conclusion: Convergence and Divergence Now.
520 $a Hannah Andrews provides a timely and thorough investigation of the changing relationship between television and cinema in Britain since 1990. She explores the process of convergence, in terms of both the intermedial relationship between closely related cultural forms, and the involvement of institutions of television in the British film industry. Rather than view convergence as a byproduct of digitalization, Andrews argues for a longer history of analogue convergence, manifested in, for example, the use of television as an alternative exhibition platform for British cinema, or the broadcast of feature-length filmed television dramas traditionally conceptualized as 'plays' rather than films. "Television and British Cinema" demonstrates how these processes of convergence have been met with equally strong rhetorical 'divergence', the use of presentational devices or discursive framing to distinguish film from television. The book discusses the role of television institutions in these processes, focusing on a period in which the relationship between film and television in the UK developed into a symbiosis.
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650 0 $a Motion pictures $z Great Britain $x History $y 21st century. $3 1007890
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