Mrs Slocombe S Pussy

For most of us, sitting in our living rooms looking for an excuse not to talk to each other of a Thursday night, a million million miles away from moon landings and Cold War tension and Third World famine, it is the addiction to a little flickering box in the corner that has shaped our lives since the late 1950s.

In this tribute to teleheaven, Jeffries explores the way our lives have been coloured by looking at the world through the cathode ray tube, and how the addiction to a little flickering box in the corner has shaped our lives since the late 1950s.

The rise of retro has led many to conclude that it represents the end of marketing, that it is indicative of inertia, ossification and the waning of creativity. Marketing — The Retro Revolution explains why the opposite is the case, demonstrating that retro-orientation is a harbinger of change and a revolution in marketing thinking. In his engaging and lively style, Stephen Brown shows that the implications of today's retro revolution are much more profound than the existing literature suggests. He argues that just as retro-marketing practitioners are looking to the past for inspiration, so too students, consultants and academics should seek to do likewise.

An exploration of how the domestic reception of broadcasting shaped the medium, from the 1920s to the present day.

Popular music studies is a rapidly expanding field with changing emphases and agenda. This is a multi-volume resource for this area of study

Hand-Made Television explores the ongoing enchantment of many of the much-loved stop-frame children's television programmes of 1960s and 1970s Britain. The first academic work to analyse programmes such as Pogles' Wood (1966), Clangers (1969), Bagpuss (1974) (Smallfilms) and Gordon Murray's Camberwick Green (1966), Trumpton (1967) and Chigley (1969), the book connects these series to their social and historical contexts while providing in-depth analyses of their themes and hand-made aesthetics. Hand-Made Television shows that the appeal of these programmes is rooted not only in their participatory address and evocation of a pastoral English past, but also in the connection of their stop-frame aesthetics to the actions of childhood play. This book makes a significant contribution to both Animation Studies and Television Studies; combining scholarly rigour with an accessible style, it is suitable for scholars as well as fans of these iconic British children's programmes.

Featuring leading scholars of British television drama and noted writers and producers from the television industry, this new edition of British Television Drama evaluates past and present TV fiction since the 1960s, and considers its likely future.