New Television Handbook

Patricia Holland has worked as an independent filmmaker, a television editor and a freelance journalist. She is currently a writer and researcher specialising in television history, and lectures at Bournemouth University, UK. Her most recent book is Broadcasting and the NHS in the Thatcherite 1980s (2013). She is the author of the first and second editions of The Television Handbook.

• FiguresAcknowledgementsIntroductionPart 1 ON Television and Television studies1 Television and tele-literacyTelevision todayTele-literacy 2 The history of television in the UKConditions of possibilityHistory of television in UK3 The Contemporary Landscape: UK channels and public service The three ages of televisionThe BBC and its futureCommercial UK broadcasters and public serviceOfcom and regulationOther UK-based channelsIndependent Production CompaniesKate Beal: Woodcut Media4 The Contemporary Landscape: globalisation, multi-channel and multi-platformGlobalisation and multi-channelOnline and multi-platforrm5 The landscape of television in the United Kingdom: text The age of superabundance: interstitials and paratexts.The linear flow: scheduling and brandingCross-platform, paratexts and interactivityAbout genresOverview of the main television genresA note on ratings, funding and formats6 Studying televison Studying television: an overview Mapping the field:Production/InstitutionTheorising media powerTexts: theorising flow and overflowAudience/ReceptionPart 2 THE PRACTITIONERS’ PERSPECTIVE 7 Working in television: an overview Working in television Programme production typesProduction processesTelevision work areas 8 Producing, production management and pre-productionProducersProduction managementpre-productionthe production periodpost-productiondistributionAbigail McKenzie: Talent Team Assistant BBC Children’s9 Director, cinematographer and the visual dimensionDirector and crewThe director's concernsTypes of shotA fresh perception of the world 10 The visual dimension: cameras, lighting and the cinematographerCameras and recording mediaCameras and digital cinematographyVisions of light Lighting: basic principles11 Sound recording and the audio spaceTelevision and the flow of sound Sound recording and audio designSound quality12 Studios and studio work ‘Live’ and ‘as live’Working in the studioStudiosQVC: the shopping channel13 Post-production processes: editing Editing and post-productionThe work of editing Editing processesStyles of editingThe final stages 14 Sound, visual effects and preparing for broadcastThe aural dimension: creating the audio spaceSound editing Graphics and visual effectsPost-production: preparing for broadcast and distributionLuke Sothinathan: VT technicianPart 3 PROGRAMMES AND GENRES15 Drama and Television NarrativeThinking about narrativeFictional narratives: dramaNarrative theoryNarrative realism and other realismsIdentity and narration 16 From Documentary to Factual EntertainmentContemporary factual programmingBrief history of UK documentaryDocumentary and contemporary sub-genresResearch for factual programmesInterview techniques Documentary and factual ethicsAnne Parisio: Parisio Productions17 News, politics and television as informationLisette JohnstonHistoryTypes of news and current affairsTelevision news teamsThe news agendaProducing the newsGio Ulleri Journalist/filmmakerPART 4 TRAINING AND INDUSTRY CONTEXTS18 Training, education and getting into the industryTraining and getting into the industryRedBalloon and Solent Productions19 Opening up the industry: diversity and accessDiversity and access MAMA youth projectBob Clarke: Executive producer MAMA youth projectJonny Yapi- My Story Training and opportunities: list of useful references20 Hannah’s DiaryHannah Mellows: Office assistant/runnerContacts for entry-level jobs21 Making Programmes: Pitching and CommissioningTurning an idea into a commissionOpportunities and fundsGlossaryBibliographyProgramme referencesIndex

‘I am concerned however that there isn’t, or doesn’t seem to be, a focus on how television is consumed rather than produced… I think topics such as red button, second screen, 360 degree commissioning, transmedia, connectivity etc need to be drawn together in a cohesive fashion. I also feel that YouTube is slightly dismissed.’ – Andy Dougan, Royal Conservatoire of Scotland, UK‘The pace with which the media landscape is changing (and has changed since 2011) means that the debates around television(s) and its multi-platform nature are essential ones for students of both television practice and theory. As such, the retitling of the handbook as ‘new’ is absolutely appropriate and clearly indicates a recognition of what the author calls the ‘radical changes which have characterised television (since the 4th edition)’ – Beth Johnson, Keele University, UK‘This is an excellent proposal and the author, who is highly regarded in academic circles, is well-equipped to undertake this task… For me the proposals main lacuna is that it underplays the significance of news as an important TV genre in its own right’ – Ivor Gaber, Goldsmiths, UK‘The nature and role of TV production and TV studies is evolving so much and so fast – a book that reflects this change is timely and important. Here you cover the key areas well.’ – James Blake, Edinburgh Napier University, UKSeries editor feedback on proposal and reviews:‘It looks very good to me...These are very positive reviews for a good proposal by a good author. My suggestion to Pat is that she does say something about the BJTC - it would be politic.’ – James Curran