Group Identities On French And British Television

Advances in audiovisual technology, most notably the advent of the popular usage of digital technology in the last few years, have altered the face of popular television. Thanks to cable, satellite and now digital technology, television broadcasts can reach an international audience. The reaction from cultural critics has been mixed. As the debate concerning the effects of new telecommunications and audiovisual technology continues unabated, this book examines the underlying hypothesis that collective allegiances are moving away from the national paradigm towards the global/local model and provides a balanced appraisal of the depiction of a select number of group identities on television in Britain and France.

This collection offers an overview of British TV comedies, ranging from the beginnings of sitcoms in the 1950s to the current boom of 'Britcoms'. It provides in-depth analyses of major comedies, systematically addressing their generic properties, filmic history, humour politics and cultural impact.

This is the first study devoted to the highly significant roles played by France and Britain in the formulation of European audiovisual policy, providing a truly comparative analysis of the contemporary audiovisual scene in the two countries.

France entered the twentieth century as a powerful European and colonial nation. In the course of the century, her role changed dramatically: in the first fifty years two World Wars and economic decline removed its status as a world power, whilst the immediate post-war era was marked by wars of independence in its colonies. Yet at the same time, in the second half of the century, France entered a period of unprecedented growth and social transformation. Throughout the century and into the new millennium France retained its former international reputation as a centre for cultural excellence and innovation and its culture, together with that of the Francophone world, reflected the increased richness and diversity of the period. This 2003 Companion explores this vibrant culture, and includes chapters on history, language, literature, thought, theatre, architecture, visual culture, film and music, and discuss the contributions of popular culture, Francophone culture, minorities and women.

From the construction of Notre Dame and the Eiffel Tower to the Fall of the Bastille and the Declaration of the Rights of Man and the Citizen to NapolZon Bonaparte's defeat at Waterloo to Albert Camus' L'Etranger and the existentialism of Jean-Paul Sartre, France has been a part of some of the greatest and most memorable events in human history. Author Gino Raymond relates the history of these events in the second edition of the Historical Dictionary of France. Through a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced dictionary entries on kings, politicians, authors, architects, composers, artists, and philosophers, a thorough history of France is presented.

Covers the area of feminist media criticism. This edition discusses subjects including, alternative family structures, de-westernizing media studies, industry practices, "Sex and the City", Oprah, and "Buffy."

The notion of French exceptionalism is deeply embedded in the nation's self-image and in a range of political and academic discourses. Recently, the debate about whether France really is "exceptional" has acquired a critical edge. Against the background of introspection about the nature of "national identity," some proclaim "normalisation" and the end of French exceptionalism, while others point out to the continuing evidence that France remains distinctive at a number of levels, from popular culture to public policy. This book explores the notion of French exceptionalism, places it in its European context, examines its history and evaluate its continuing relevance in a range of fields from politics and public policy to popular culture and sport.

This study analyses four new genres of literature and film that have evolved to accommodate and negotiate the changing face of postcolonial Britain since 1990: British Muslim Bildungsromane, gothic tales of postcolonial England, the subcultural urban novel and multicultural British comedy.