Following World War II, Germany was faced not only with the practical tasks of reconstruction and denazification, but also with the longer-term mission of morally re-civilizing its citizens a goal that persisted through the nation s 1949 split.
'A wonderful blend of nostalgia, hilarity and personal anecdotes that only Josh Widdicombe could deliver' James Acaster'If you read only one book by Josh Widdicombe this year, make it this one' Jack Dee'Beautifully written, cleverly crafted and charmingly funny' Adam Hills'This is a book about growing up in the '90s told through the thing that mattered most to me, the television programmes I watched.
This is the ultimate book for the Netflix and boxset generation, featuring all the greatest drama series ever broadcast as well as the weirdest game shows, controversial reality TV experiments and breathtaking nature documentaries.
At a stage of major change in the world of television (the coming of digital TV, multiple channels, mobile TV on cellphones) this book seeks to take stock of the impact of the advent and presence of television on daily life over the past fifty years, or slightly longer.
Although ostensibly presented as “light entertainment,” the work of writer-director-producer Joss Whedon takes much dark inspiration from the horror genre to create a unique aesthetic and perform a cultural critique.
Wonder Woman was created in the early 1940s as a paragon of female empowerment and beauty and her near eighty-year history has included seismic socio-cultural changes.
Television provides a unique account of the development of a homosexual identity across the western world, emerging as it did when ideas around sex and sexuality were themselves only just beginning to be publicly discussed.
Buffy the Vampire Slayer gave contemporary TV viewers an exhilarating alternative to the tired cultural trope of a hapless, attractive blonde woman victimized by a murderous male villain.
Wonder Woman was created in the early 1940s as a paragon of female empowerment and beauty and her near eighty-year history has included seismic socio-cultural changes.
Law and Order Special Victims Unit (SVU) is more popular than any other American police procedural television series, but how does its unique focus on sex crimes reflect contemporary popular culture and feminist critique, whilst also recasting the classic crime narrative?
Lorna Jowett delves into the distinctive stories and characters, including the Doctors themselves, their female and male companions, Captain Jack Harkness, Missy, Sarah Jane and her young comrades.
Drawing worldwide acclaim from critics and audiences alike, programmes like The Killing, Borgen, The Bridge and The Legacy demonstrate widespread fascination with Danish style, aesthetics and culture as seen through television narratives.
Although ostensibly presented as “light entertainment,” the work of writer-director-producer Joss Whedon takes much dark inspiration from the horror genre to create a unique aesthetic and perform a cultural critique.
Television provides a unique account of the development of a homosexual identity across the western world, emerging as it did when ideas around sex and sexuality were themselves only just beginning to be publicly discussed.
Law and Order Special Victims Unit (SVU) is more popular than any other American police procedural television series, but how does its unique focus on sex crimes reflect contemporary popular culture and feminist critique, whilst also recasting the classic crime narrative?
Lorna Jowett delves into the distinctive stories and characters, including the Doctors themselves, their female and male companions, Captain Jack Harkness, Missy, Sarah Jane and her young comrades.
In recent years, the representation of alternative sexuality in the horror film and television has "e;outed"e; itself from the shadows from which it once lurked, via the embrace of an outrageously queer horror aesthetic where homosexuality is often unequivocally referenced.
Buffy the Vampire Slayer gave contemporary TV viewers an exhilarating alternative to the tired cultural trope of a hapless, attractive blonde woman victimized by a murderous male villain.
