Video Work Research Articles

Film and Television Culture Industry and Urban Image Communication of Zhuhai

Zhuhai is an important place where film and television works have their framing and several hundred film and television works are shot each year. However, images of Zhuhai in film and television works are not sufficiently shown. Obviously, this is a regret and even a crisis in the era when Chinese cities’ competition becomes increasingly fierce. By analyzing and summarizing the relationship between film and television culture industry and urban image communication, this thesis discusses the ways in which Zhuhai uses the film and television culture industry effectively to improve its urban image and enhance urban competitiveness.

Ken Loach: the Politics of Film and Television

Two main features characterize Ken Loach's film and television output: a commitment to a radical, even revolutionary, political agenda, and formal qualities (descriptions range from ‘naturalist’ or ‘social realist’ to the pejorative ‘kitchen-sink’ or ‘miserabilist’) developed out of a unique filmmaking approach combining linear shooting, the employment of natural lighting and casting nonprofessional actors. John Hill's book-length study of Loach's almost five-decade-long career attempts to synthesize both features and, in the process, provide a contextualized ‘social history’, which assesses ‘the political significance of his work’ (p. 2). It is a formidable task, not least because of the scale of the seventy-seven-year-old, English-born director's oeuvre: the book's filmography lists fifty-eight films and television programmes (one-off plays, miniseries – both individual episodes and entire series – and documentaries).1 It is a task, however, in which Hill is predominantly successful, despite a rather ambiguous and brief conclusion. From the start, Hill flags the importance of collaboration to the director's output, noting that it was producer Tony Garnett who initiated much of their early/mid 1960s television projects, and that screenwriter Jim Allen's Trotskyist outlook heavily influenced Loach's politics when they started working together later that decade. Nevertheless, Hill notes that while Loach rejects the auteur label, ‘the circumstances in which his films are made and shown have increasingly encouraged a reading of his work in precisely these terms’ (p. 5). Hill, however, does not present an auteurist study with an ‘overtly evaluative approach’, opting instead to locate Loach's work within the ‘social, political and artistic currents of the time’ (p. 6). The book is broadly chronological, concentrating on what Hill regards as the director's ‘most important work’ or work which has received ‘less attention than might have been appropriate’ (p. 6). Less consideration is therefore given to Loach's cinematic output than to his television work.

Ontology, intentionality and television aesthetics

nThis essay suggests that television aesthetics, as a research project, would benefit from attending to relevant theoretical debates in philosophical aesthetics. One reason for this is that assumptions about the ontology of television artworks are already embedded in our critical practices. We ought to be more aware of what these assumptions are and state them more explicitly. Moreover, I argue, for debates in television aesthetics to get off the ground, we need to ensure we bring the largely the same ontological assumptions to the table. We need to roughly agree about how television works are identified and individuated to ensure we are talking about the same works and that our debates are coherent. Referring to television works as 'texts' can make their ontology seem radically different from what our common creative and critical practices suggest, but I argue that a more precise use of language will help clarify ontological matters. Furthermore, I argue that the tacit ontological conceptions embedded in our creative and critical practices cannot be overturned by revisionist theories; rather, they actually determine the sort of ontological things to which we refer with terms like lepisoder and lseriesr. I conclude by attempting to show that our standard critical practices involve the tacit assumption that successfully realized artistic intentions establish the spatio-temporal boundaries of television works.

Sleep: The way we snooze now

Light bulbs, television, computers and shift work have all altered sleeping habits. This has huge implications for sleep deprivation and our health

Beckett on Screen: The Television Plays (review)

Reviewed by: Beckett on Screen: The Television Plays Chris Ackerley Jonathan Bignell . Beckett on Screen: The Television Plays. Manchester, New York: Manchester University Press, 2009. Pp. 230. $74.95, £50 (Hb). Ambiguous achievements are difficult to evaluate. Reviewers, like essay markers, pray for knowledge, wit, and grace. If those qualities are not forthcoming, as they rarely are, then something truly appalling may set us dancing amidst despair: I think of my Lost One, who affirmed that "Henry VIII's girlfriend was Amber Lynn"; or the Unteachable who bemused his Master with "anus crimes." Most books are maculate manifestations of an imperfect world, perhaps to be treated like the curate's egg ("Parts of it are very good, m'lord"); the problem is finding the right measures of reservation and praise. Jonathan Bignell's Beckett on Screen, his discussion of Beckett's works for British television, from Eh Joe (1966) to Quad (1982), is solid and informed, offering insights into a creative collaboration that, if not a popular success (ratings were always poor), marked the reception of Beckett's later work within one milieu ("Getting Known"). He is excellent on the production environment of British broadcasting and meticulous in documenting Beckett's work in this arena. Yet other matters intrude: Film (1964) is pertinent but the RTE Beckett on Film adaptations less so, for unlike the television plays analysed in relation to production practices and broadcasting contexts, their treatment is fragmentary and their cultural dynamics ill-defined. This is because (as Bignell might have said) they contribute relatively little to the historiography of Beckett's oeuvre or that of British television. Bignell implies that relatively little has been written about Beckett's television productions. This may be true in the narrower sense of specifically British programming (his focus), but that is a small part of their history. He ignores French productions, and the pioneering work of Süddeutscher Rundfunk, though acknowledged, is not analysed minutely. His discussion of What Where (Beckett's most sophisticated television adaptation) is perfunctory, probably because its one British screening was a direct rendition of a Stuttgart performance. If, as Bignell argues (2), academic analysis of television drama has largely excluded Beckett's productions, it does not follow that this work has been ignored. The German versions have been discussed frequently by British, [End Page 383] American, and European critics. In 2009, a double issue of the Journal oféBeckett Studies, edited by Ulrika Maude and David Pattie, was dedicated to it. Bignell cannot be censured for ignoring work published after his book was in press; yet, he must have known that this volume was imminent. Erik Tonning's Abstraction in Samuel Beckett's Late Work for Stage andéScreen (2007) was out, and Stan Gontarski's various entries on the television drama in the Grove Companion (2004) were available. Bignell praises Graley Herren's Samuel Beckett's Plays on Film and Television (2007), but calling it "recent" (2) when contemporaneous studies are ignored is confusing; nor is his own bibliography of "recent" vintage (saving some 2007 studies also published by MUP). This does not invalidate the work, but Bignell should have affirmed his book's genuine strength: its focus on Beckett's British television productions. Bignell's writing is uneven (the uncharitable might say dull). Like other nags in the Palgrave-Macmillan stable, it should have been groomed before given its head. The syntax often runs wild, and there are too many tumbles into shallow ditches. Awkward repetitions, agreement problems, abused prepositions, missing apostrophes, and related stylistic infelicities abound. One can forgive the odd irritant ("Gontarsky" 19), but not clangers of truly "Amber Lynn" proportions. Bignell identifies one of the "intertexts" that "might explain the title" of Ghost Trio as Schubert's "Ghost Sonata" (48), the error repeated (154). It should be, of course, Beethoven's "Geistertrio" (Op. 70, No. 1), the haunting music that plunges the piece into Macbeth's spirit world, with flickering arpeggios, piano tremolos, and descending chromatic scales that conjure an uncanny deathly realm. This is not "intertext" (brrrr!), but a complex aesthetic arising from the auditory imagination as much as the visual; it is not, as Bignell says, a "mechanism" for...

On the edge: the Irish in Britain as a troubled and troubling presence in the work of Jimmy McGovern and Alan Bleasdale

Irish-born characters and characters whose names indicate Irish descent recur in the television and film work of Liverpool writers Jimmy McGovern and Alan Bleasdale. Their frequently troublesome dramatic presence often marks them as alien or marginal but problematic elements within British society, or suggests a troubled past and characteristic psychic dysfunction. Bleasdale's have been depicted somewhat stereotypically as economically parasitic and anachronistically maintaining outmoded religious beliefs incompatible with the material interests of the working class. By contrast, McGovern has frequently used his ‘Irish’ characters to engage critically with his own ‘Liverpool Irish’ Catholicism and as the focal point for his distinctively moral vision of British society.

<i>Beyond the Box: Television and the Internet</i> (review)

Reviewed by: Beyond the Box: Television and the Internet Karen Hellekson (bio) Sharon Marie Ross, Beyond the Box: Television and the Internet. Oxford: Blackwell, 2008. 280pp. £19.99 (pbk). The subtitle hints at the focus of Sharon Marie Ross' book: Beyond the Box analyses what Ross calls teleparticipation, or opportunities to engage with television outside the show itself, mostly online. Such engagement implicates more than the viewer, who is presented here as an active participant in making meaning: joining the viewer are the show's writers, producers and marketers, among others, no longer lurking, invisible, behind closed doors but now reading the boards and forums where fans congregate to discuss the show – Television without Pity being the most famous example (www.televisionwithoutpity.com). This smart, accessible book can be read usefully with Jason Mittell's various publications on narrative complexity, particularly in terms of Lost (2004–); Matt Hills' analysis of Fan Cultures (2002); Henry Jenkins' Convergence Culture (2006); Sara Gwenllian-Jones' work in Cult Television (2004); Annette Kuhn's 1984 study of audience published in Screen 25.1, 'Women's Genres'; and Ross and Louisa Ellen Stein's edited volume on Teen Television (2008). Ross interviewed and surveyed fans – her sample limited, as Ross admits, in that most were white American women – in an attempt to understand how consumer relates to producer. In her analysis, she explores the notion of an Internet-connected social audience for a television show, now that such a connection is practically a given; how fans, fandom and engagement with the source text might have changed; and how consumption of television has altered. The shows Ross analyses include Xena: Warrior Princess (US 1995–2001), Buffy the Vampire Slayer (US 1997–2002), American Idol (US 2002–), Lost (US 2004–) and the Cartoon Network's Adult Swim lineup of cartoons geared to adults, such as Family Guy (US 1999–2003, 2005–) and King of the Hill (US 1997–). One chapter is given over to analysis of teen expectations of teleparticipation. Some, but definitely not all, of these shows might be classified as cult television, a difficult-to-define term that revolves around the (lack of) a programme's perceived mainstream acceptability. Ross describes cult television as a show that tends to invite active fan engagement, such as writing fan fiction. Cult texts often have nonrealistic elements, perhaps supernatural, perhaps fantastic, perhaps science fictional, as well-known examples Buffy and Xena demonstrate. But as Ross rightly points out, although much scholarship has explored the notion of the cult show, in part because the engaged fans create artworks that fan studies scholars like to analyse, the notion that can be drawn from it – a social audience – transcends the cult status and the genre of a programme. [End Page 142] Ross chooses to focus on television rather than other visual media, such as film or Internet-released, visual texts, because she wishes to emphasise the ongoing nature of the extended narrative, which comprises many episodes and perhaps many seasons. Ross argues, following Walter Benjamin, that 'the Internet as an extension of the TV text may be contributing mightily to a revitalization of storytelling' (25), which, thanks to teleparticipation, extends beyond the source. The move from beyond the screen to an ancillary source, the Internet, imbricates an already extended narrative. Further, Ross wants to deal with the fans of the show, a stance that places her book firmly within the realm of fan studies as well as the more general field of media studies. Indeed, her conclusion describes the empowerment of fans in various fan-spearheaded, save-the-show campaigns, driven in part by a sense of the emotional connections experienced by the fans. Affective engagement results in feelings of ownership, yet at the end of the day, The Powers That Be are still the storytellers and the true owners of the text. Despite this, however, if TPTB decide to engage with fans, they must be prepared to have an actual conversation. They can not drop in, make a pronouncement, and leave: Ross speaks of heightened 'expectations for intimacy and connectedness; and while this dynamic revolves primarily around the community online, it applies to anyone entering that space' – writer, producer or fan...

A única função do educador é pôr a criança na rua, no mundo

Born in Sao Paulo and holding a bachelor degree in Pedagogy by Universidade de Sao Paulo, the teacher, journalist and writer Fanny Abramovich celebrated her 20 years of career in 2009. She taught and wrote books for children, youth, adults and teachers and was invited to take her knowledge throughout Brazil, dealing with theater‑education and creativity‑education. She worked for years as a journalist, making criticism of children’s books, and speaking of what was produced for them, toys, phonograph records, theater. She made the same kind of work in television. Collaborated with several newspapers and magazines. Acted as consultant for projects specifically designed for children and youth in the areas of theater, literature and education. In this testimonial, she tells why everything she did in life has been worth it.

EARLY MULTI-PLATFORMING

Early examples of the re-purposing of material from one medium to one or several others are examined through various cases of television cooking programmes and associated print materials. The presenter was the key property uniting the materials and the first television cook to be examined here is Philip Harben, who started on the BBC in 1946 and whose first spin-off book appeared in 1951. A small discussion of Julia Child's American work precedes the main focus, which is on the British-born Graham Kerr, from his first television work in New Zealand in 1961, through his period in Australia from 1965, to his move to Canada in 1969. During this period the serious hardcover publications were not directly associated with television, while those which stressed the televisual relationship had lower production values and needed to justify their existence with explicit commentary on the service they were providing to viewers. It is these latter however which provide valuable information about the early everyday experiences of watching television.

Notes for Notes

Notes for Notes H. Robert Cohen and Barbara Dobbs Mackenzie The Music Library Association has announced its publication awards for 2007. The Vincent H. Duckles Award for the best book-length bibliography or other research tool in music published in 2007 was presented to David Russell Williams and C. Matthew Balensuela for Music Theory from Boethius to Zarlino: A Bibliography and Guide (Hillsdale, NY: Pendragon Press, 2007). The MLA Publications Awards Committee noted that this “concluding volume in a decades-long effort to survey the landscape of Western music theory . . . gently introduces readers to what might otherwise be unfamiliar and daunting material. The authors summarize the major works of some 120 medieval and Renaissance theorists in language that is both clear and precise, and their helpful lists of secondary literature, assembled from an impressively broad array of sources, are coded to highlight introductory readings. As computerized keyword searching increasingly fragments the research process, the context provided by this volume will prove ever more valuable to non-specialists and scholars alike.” The Eva Judd O’Meara Award for the best review published in Notes in 2007 was awarded to Louis Niebur for his review essay “The BBC Radiophonic Workshop: Recent Reissues of British Electronic Music from 1955–1996.” The review appeared in Notes 63, no. 3 (March 2007): 912–23. The committee stated that “Louis Niebur’s review essay on the Radiophonic Workshop provides a delightfully readable introduction to an influential but little-known chapter of twentieth-century music culture. As the British Broadcasting Corporation’s in-house electronic music studio, the RW met the growing demand for new electro-acoustical sounds by creating thousands of works for television and radio between the years of 1955 and 1996. Through his survey of recent compact disc and DVD reissues, Niebur effectively chronicles the pioneering and farreaching achievements of the Workshop, its largely anonymous composers, and their equipment and techniques. His balanced, descriptive insights inspire the reader to want to know more about the RW, to hear more, and above all, to care about this intriguing piece of electronic music history.” The Richard S. Hill Award for the best article on music librarianship or article of a music-bibliographic nature was awarded to Edward Komara, for his article “Culture Wars, Canonicity, and A Basic Music Library,” which appeared in Notes (vol. 64, no. 2 [December 2007]: 232–47). The committee commented that “Komara examines the debate [End Page 754] over the phrase ‘culture wars’ and how the issue of canonicity affects the acquisitions component of A Basic Music Library. In citing musicological works that focus on canonicity and espousing a skeptical view of the multiplicity of canons and ‘musics,’ Komara displays exceptional scholarly facility, and his assertion that ‘basic’ does not have to mean ‘canonic’ is welcome wisdom in an increasingly digital age. The timeliness and focus of this article, coupled with clear, concise, and well-formulated arguments, make it a relevant and convincing read, especially for those who work in the area of collection management.” Other MLA Awards. The 2009 Dena Epstein Award for Library and Archival Research in American Music was given to two recipients, Lara Housez and Maria Cristina Fava. Ms. Housez is a Ph.D. candidate in musicology at the Eastman School of Music, is completing a dissertation entitled “Becoming Sondheim: From Forum to Company.” Her research examines Sondheim’s career and musical growth during the 1960s—a “dark decade” that eventually resulted in the solidification of Sondheim’s mature musical identity. Though much has already been written about Sondheim, this project explores not what Sondheim did, but how he developed as an artist, drawing on a variety of disparate influences and the experiences of trial and error. Housez will examine primary source material at the Wisconsin Historical Society and the New York Public Library in order to provide a much-needed scholarly approach to this portion of Sondheim’s life. When combined with Housez’s own practical experience with the theater, this research promises to provide a unique important insight into an important American composer. She will use the funding to provide travel money to assist with visits to Wisconsin and New York. Ms. Fava, also a Ph...

“A Fan Crashing the Party”

Reality TV's (re)emergence at the turn of the century necessitates a reconsideration of what it means to work in television as on-camera talent. Through a study of reality actor Susie Meister, the author examines a new kind of television-based celebrity created in the wake of the longest-running U.S. reality series, The Real World (1992—). This form of celebrity, which I call “reality-celebrity,” diverges from other modes of televisual fame by encoding its participants as off-camera texts cast to perform their “ordinariness” within the confines of a reality persona. Different from other types of television personalities (e.g., talk show hosts, news anchors), MTV's reality-celebrities must continually act as if they are off camera. The “behindthe-scenes” quality of Meister's fame is explored to trace some of the ways in which MTV's construction of celebrity challenges past notions of televisual fame. Ultimately, this article considers the implications of reality TV's blurring of the distinction between participant and performer.

The Fantastic Undersea Life of Jacques Cousteau (review)

Reviewed by: The Fantastic Undersea Life of Jacques Cousteau Deborah Stevenson Yaccarino, Dan. The Fantastic Undersea Life of Jacques Cousteau. written and illus. by Dan Yaccarino. Knopf, 2009 [32p]. ISBN 978-0-375-85573-3 $16.99 Reviewed from galleys R Gr. 2–4 Following on the damp heels of Berne’s Manfish: The Story of Jacques Cousteau (BCCB 7/08) is this new picture-book biography of the great marine explorer and environmental champion. Yaccarino begins with Cousteau’s youth, explaining his taste for tinkering and early love of the water, and then follows those threads through his career. This isn’t so much an overview of his life (there’s no mention of his wartime experiences, for instance) as a chronicle of his explorations, innovation, and work as a marine ambassador; enumeration of his inventions, such as the Aqualung, the Diving Saucer, and the Sea Flea, and entertaining tidbits about various dives (“A big grouper adopted the crew while they were filming”) add depth to the history. Yaccarino’s simple, straightforward text capably condenses the important [End Page 302] aspects of Cousteau’s life and effectively conveys the man’s love of the oceans and commitment to sharing it; quotes from Cousteau appear in colored medallions and offer a horse’s mouth (seahorse’s mouth?) counterpoint to the third-person narration. The gouache illustrations ingeniously employ an airbrush for much of their paint application, resulting in soft grainy textures with gradations ranging from the crisp to the gentle. The sensibility is strongly graphic and the faces generally rather stylized, so the images are a little low on emotional connection, but they’re dramatic, with the varied layouts and capable compositions balancing the teeming marine life and the strong colors. This would be a useful companion to Cousteau’s film and television work, or it could provide a marine dimension to a unit on explorers. A brief timeline of important events in Cousteau’s life is appended; the bound book will include source notes. Copyright © 2009 The Board of Trustees of the University of Illinois

Mostrar o Brasil e suas populações! Esta é a tarefa sobre a qual tenho me debruçado por longos anos

Neste depoimento, a jornalista Paula Saldanha conta como seu trabalho de autora e ilustradora de livros para crianças e jovens levou-a a atuar na televisão, em programas como Fantástico, telejornal Hoje e Globinho – primeiro telejornal para crianças e jovens da TV brasileira que marcou toda uma geração. Idealizando o trabalho independente, passou a produzir reportagens especiais, viajando por todo o Brasil, gravando grandes reportagens sobre questões ambientais, especialidade de sua produtora, a RW Cine, responsável pelo renomado projeto Expedições – coroamento de todo o trabalho independente para televisão: documentação do Brasil, suas populações e divulgação nas TVs públicas – TV Brasil e TV Cultura.

Reputation Work in Selling Film and Television: Life in the Hollywood Talent Industry

Reputation is an important feature in the interactional contexts of work in “culture industries” such as film and television production. But few accounts have examined how reputations are produced in the everyday worlds in which cultural producers live and work. This paper introduces the concept of “reputation work” to describe the front stage and back stage interactional processes through which cultural producers continuously strive to produce their reputations. Drawing on participant observation data gathered at a Hollywood talent management company and a business school course on the talent industry, this paper shows how Hollywood agents and managers perform four types of reputation work. These include how Hollywood talent representatives work to adhere to institutionalized conventions for reputable physical settings, group contexts, giftgiving practices, and selfhoods. Such reputation work performances are done for the sake of “impression management,” but show how this strategic interaction is governed by industry-wide institutions that govern legitimacy.

The BBC Radiophonic Workshop: Recent Reissues of British Electronic Music From 1955–1996

With the CD release this year by the British Library of Samuel Beckett's seven works written for BBC radio comes a chance to reevaluate the commercial releases from the effects studio that made these recordings possible, the British Broadcasting Corporation's (BBC) Radiophonic Workshop. The Radiophonic Workshop (RW) was the BBC's in-house electronic music studio from 1958 to 1998. During those years, the workshop's largely anonymous composers wrote thousands of works for television and exerting an enormous influence on the development of electronic music in both the popular and, to a lesser extent, academic realms. For millions of people, including musicians and composers such as The Beatles, Pink Floyd, Luciano Berio, Vladimir Ussachevsky, and more recently, Orbital and the Pet Shop Boys, the RW was British electronic music. The kind of primitive but effective electronic tape music and effects employed in several of Beckett's works, available now for the first time on CD, quickly shifted to a more mainstream tonal style, before finally settling on a purely synthesizer-based model of composition by the early 1970s. This essay will sample a collection of recordings and DVDs from throughout the RW's history. In the beginning, the RW was in some ways the equivalent of the more famous Groupe de recherches musicales formed by Pierre Schaeffer for the production of musique concrete at the Parisian Radiodiffusion television francaise. The two studios initially shared similar methods of musical production, i.e., tape manipulation of recorded sounds and minimal electronic generation. In this, both studios differed from the predominantly electronically generated works emerging from the Westdeutscher Rundfunk studio as populated by composers like Herbert Eimert and Karlheinz Stockhausen. Both the French and German studios, however, were accompanied by associated schools of composition; Schaeffer's complex system of objets sonores guided his studio's output, and the Germans saw their music as the continuation of the development of serial techniques. No such philosophical mandate controlled the direction of the RW's productions. Rather, owing to the overwhelmingly hostile reaction both French and German electronic music received from within the BBC's Music Department, individuals from within that same organization's Drama and Features Departments worked to create a commensurate electronic studio in Britain. Working outside the heated contemporary musical debates of the time, these two departments were able to forge a studio free from the particular ideological musical forces at work on the Continent. Two BBC producers in particular were the driving force behind its creation, broadcasting several early experiments in electronic music as part of dramatic productions. Douglas Cleverdon and Donald McWhinnie found inspiration in Schaeffer's experimentation with manipulated sounds, seeing a vast new area of fit for exploration. The growing desire in the mid-1950s for a wider array of effects in dramatic productions reflected a larger desire by British producers and playwrights for a new kind of production: what McWhinnie called pure radio, a blending of spoken dialogue, effects, and music into an entirely organic whole, and only possible in the medium of radio. (1) The emergence and popularity of a revolutionary new avant-garde continental theatre in the mid-fifties, the Theatre of the Absurd, gave these producers a new willingness to invest their productions with an anti-realist aesthetic that embraced techniques geared towards the odd, surreal, and distorted. This world, borrowed and expanded upon from comedy and science fiction, existed as a bridge between music and reality. By alienating its audience from a familiar reality, the works combined electronics and words in a way unique to Britain. The first of the productions utilizing radiophonic sound (the name chosen by the BBC for these new electro-musical effects in an attempt to avoid comparison with both Germanic elektronische Musik and French musique concrete) to gain serious critical and popular attention was Beckett's All That Fall (1957), the first play on the British Library's CD collection and Beckett's first work specifically for the medium of radio. …

Performing industrial relations: the centrality of gender in regulation of work in theatre and television

ABSTRACTWomen performers have worked in a formally unsegregated occupation since 1660. However, formal and informal regulation of their access to work can only be understood in the context of their interaction as gendered workers with other, gendered, institutions and processes. This analysis has wider implications for the study of industrial relations.

The Elephant in the Living Room: Make Television Work for Your Kids

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The Birth of CBS-TV News

Edward R. Murrow is often given credit for his groundbreaking television work on See It Now in the mid-1950s, but the birth of CBS-TV news dates back more than a decade before he made the jump from radio to television. At the start of commercial television in July 1941, CBS allowed a small group at its New York City experimental station to develop a format for TV news with little involvement from the exalted CBS Radio news department. The WCBW crew experimented with visual techniques and developed a format for news in two fifteen-minute daily television newscasts until wartime restrictions forced its cancellation. That experience became invaluable when television news covered its first national crisis, the December 7, 1941, attack on Pearl Harbor, and the 1941–42 WCBW newscasts laid the foundation for newscasts aired even today.

New tax incentives a boon to digital entertainment in Georgia

ATLANTA, GA, March 20, 2006 -- The Georgia legislature recently enacted tax code changes allowing digital entertainment producers, including computer game companies based outside of the state, to reap a significant saving on products made there. Many states encourage film and television work, but Georgia also revised its tax code enough to include development on interactive entertainment.

Freedom's Pioneer: John McGrath's Work in Theatre, Film and Television. Edited by David Bradby and Susanna Capon. Exeter: University of Exeter Press, 2005. Pp. 250 + 24 illus. £47.50/$90 Hb; £14.99/$29.95 Pb John McGrath: Plays for England. Selected and introduced by Nadine Holdsworth. Exeter: University of Exeter Press, 2005. Pp. 340 + 16 illus. £14.99; $29.95 Pb

Freedom's Pioneer: John McGrath's Work in Theatre, Film and Television. Edited by David Bradby and Susanna Capon. Exeter: University of Exeter Press, 2005. Pp. 250 + 24 illus. £47.50/$29.95 Pb - Volume 31 Issue 2