{"title":"Book Review: Fanvids: Television, Women, and Home Media Re-Use","authors":"R. Garner","doi":"10.1177/17496020221121489","DOIUrl":null,"url":null,"abstract":"Ben Lamb is an expert on British television crime drama whose book, You’re Nicked: Investigating British television police series (Manchester UP) was published 2019. He leads the English Studies and Creative Writing at Teesside University. His research interests include modes of realism within different television production systems, genre theory, gender politics, and representations of social class. He is the producer of the film programme Rewinding the welfare state, supported by the National Lottery Heritage Fund and North East Film Archive.","PeriodicalId":51917,"journal":{"name":"Critical Studies in Television","volume":"1 1","pages":"459 - 461"},"PeriodicalIF":0.9000,"publicationDate":"2022-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Critical Studies in Television","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1177/17496020221121489","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
引用次数: 0
Abstract
Ben Lamb is an expert on British television crime drama whose book, You’re Nicked: Investigating British television police series (Manchester UP) was published 2019. He leads the English Studies and Creative Writing at Teesside University. His research interests include modes of realism within different television production systems, genre theory, gender politics, and representations of social class. He is the producer of the film programme Rewinding the welfare state, supported by the National Lottery Heritage Fund and North East Film Archive.
期刊介绍:
Critical Studies in Television publishes articles that draw together divergent disciplines and different ways of thinking, to promote and advance television as a distinct academic discipline. It welcomes contributions on any aspect of television—production studies and institutional histories, audience and reception studies, theoretical approaches, conceptual paradigms and pedagogical questions. It continues to invite analyses of the compositional principles and aesthetics of texts, as well as contextual matters relating to both contemporary and past productions. CST also features book reviews, dossiers and debates. The journal is scholarly but accessible, dedicated to generating new knowledge and fostering a dynamic intellectual platform for television studies.