Travelling Man A Critical Guide

Drawing inspiration from the private detective and Western genres, as well as the cult 1960s series The Fugitive, Roger Marshall's mid-1980s drama Travelling Man was both critically acclaimed and commercially popular, drawing audiences of up to 13.2 million viewers. Ex-Drugs Squad detective and jailbird Alan Lomax is a fascinatingly flawed protagonist, but it is the setting of the canals and inland waterways of Britain which provide the unique charm of Travelling Man, offering the perfect backdrop for Lomax's nomadic quests. The canals also dictate the show's leisured pace. Avengers expert Rodney Marshall offers a critical guide to all thirteen episodes, exploring the scripts, direction, characterisation, acting and music. ""One thing about quiet waterways, you can hear footsteps.""

In the mid-1980s, in Edinburgh, Ian Rankin was hatching a plot for a 'crime thriller' from his student digs. Knots & Crosses - like its frayed protagonist John Rebus - was rough around the edges but marked a promising debut. More than a quarter of a century later, Rankin and Rebus have a global following. The series has been both critically acclaimed and commercially popular. Detective John Rebus is anything but conventional. The same can be said of Ian Rankin's innovative texts which take crime fiction far beyond formulaic genre, producing radical, disruptive, borderline texts. In the first ever full-length study of all twenty-one Rebus novels, Rodney Marshall argues that Rankin's fiction continues to break new ground, blurring the boundaries between traditional detective novel and modern literature. November 2016 fifth edition: now includes an exclusive eighteen page interview with Ian Rankin and a chapter on Rather Be The Devil, Rankin's new Rebus novel.

Subversive Champagne re-examines the 1960s cult television series, The Avengers, through a close analysis of 25 filmed episodes. The book examines how The Avengers - during the classic Emma Peel era (1964-1967) - was continually shifting the boundaries of audience expectation, defying both genre classification and viewers' traditional desire for kitchen sink drama. Subversive Champagne centres on eighteen episodes from the monochrome Peel Season 4 - widely acknowledged as the artistic pinnacle of the series. It is in this era - caught between video-tape and colour film - that The Avengers was undergoing arguably its most profound stylistic and thematic transitions, from mild eccentricity to something genuinely experimental. The author extends his journey into the exhilarating but 'uneven' colour Season 5, adding chapters on seven more episodes, thus allowing us to explore the entire Emma Peel era. Entertaining froth or groundbreaking art? Rediscover the most iconic show in television history.

Drawing inspiration from the private detective and Western genres, as well as the cult 1960s series The Fugitive, Roger Marshall's mid-1980s drama Travelling Man was both critically acclaimed and commercially popular, drawing audiences of up to 13.2 million viewers. Ex-Drugs Squad detective and prisoner Alan Lomax is a fascinatingly flawed protagonist, but it is the setting of the canals and inland waterways of Britain which provide the unique charm of Travelling Man, offering the perfect backdrop for Lomax's nomadic quests. The canals also dictate the show's leisured pace. Avengers expert Rodney Marshall offers a critical guide to all thirteen episodes, exploring the scripts, direction, characterisation, acting and music. Amazon cover; same content.

Lew Grade's pioneering ITC company created a production line of quirky new drama series for British Independent Television in the 1960s, fulfilling a vision of providing entertaining, colour film series for a global market. In the first of a proposed series of critical guides, Avengers expert Rodney Marshall and television historian Matthew Lee explore ITC's Man in a Suitcase. Their book offers new, inventive readings of all thirty episodes. Man in a Suitcase is a product of its mid-1960s context, exploring themes such as Cold War espionage and Swinging Sixties playgirls, yet most of the stories also have a timeless feel to them: political corruption, blackmail, murder, missing persons or money, art theft. Despite the private detective/bounty hunter formula, there are welcome elements of playfulness, quirkiness, surrealism and a healthy abundance of social and political critique. Man in a Suitcase cannot be simplistically labelled as 'light entertainment' given the dark subject matter and its treatment.

Television drama is frequently marginalised as a piece of fleeting popular culture rather than 'a more lasting art form'. The emergence of television studies has helped to question this mind-set. Innovative television drama can rival any field of the arts in terms of material worthy of critical exploration. This series of books focuses on 'outstanding' examples of British television dramas, centring on a single episode in an attempt to explain what makes both the episode in particular, and the series in general, remarkable. The social context, script, characters sets/locations, music, and direction are all focal points. This Classic British Television Drama (CBTD) series of books continues with an exploration of Man in a Suitcase's episode Day of Execution. Elements of Cold War espionage, American gumshoe, British thriller and 'Swinging' London combine in a series which is hard to define and was, arguably, ahead of its time.

Father of two, David Jennings is divorced and working as a professor of literature in Singapore. Out of the blue he receives a phone call from his ex-wife, Anne. Their daughter, Kate, a promising university student, has been found dead on a bleak hillside outside Brighton. The police are convinced that she has taken her own life. The coronerÕs Open Verdict encourages him to start his own, guilt-ridden investigations into her death. As Jennings journeys into his daughterÕs past, the harrowing mission takes us to London, Bogot+ and the English coastline, in a search to understand ÔWhy?Õ But what if the truth is worse than not knowing?