Edge of Darkness:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London
British Film Institute
2007
|
| Schriftenreihe: | BFI TV Classics
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| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | 153 S. zahlr. Ill. |
| ISBN: | 9781844572007 |
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Datensatz im Suchindex
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| adam_text | Contents Introduction - ‘A Television Classic’........................і 1 2 3 4 5 6 7 Edge of Darkness·. Production Context ................ 7 British Television Drama in the 1980s...............22 Britain and the ‘Strong State’ in the 1980s.....зо Narrative and the Serial Form............................ 50 Conspiracy Genre and Paranoid Narrative......... 71 Death, Grief and Magical Thinking.................. 102 Reviewing Television.......................................... 121 Afterword: Troy Kennedy Martin.............................ізз Notes........................................................................139 Awards.....................................................................143 Bibliography............................................................ 144 Credits..................................................................... 147 Index 150
*- dge of Darkness (ВВС, 1985) is a conspiracy thriller, a psychological drama, and a mythic tale of the death and regeneration of the planet. Written by Troy Kennedy Martin, directed by Martin Campbell, and produced by Michael Wearing, it marks one of the high points of a British television drama, which was both popular in its generic appeal and groundbreaking in its narrative style. Broadcast at a time of high paranoia about the secret state, the hazards of nuclear energy and nuclear weapons proliferation, Edge of Darkness stars Bob Peck as Craven, a CID detective investigating the death of his environmental activist daughter, played by Joanne Whalley. His search for the truth leads him into a murky world of conspiracy involving the nuclear industry and the CIA (Joe Don Baker in a bravura performance as the CIA agent Darius Jedburgh). John Caughie’s insightful study of the series situates it in the political context of the 1980s and in the context of British television drama in transition. He traces Edge of Darkness’s exploration of the pathology of grief, developing notions of paranoia, myth and magical thinking to highlight the ways in which Troy Kennedy Martin takes the political thriller beyond politics. The book includes an Afterword by the screenwriter, Troy Kennedy Martin. is Professor of Film and Television Studies at the University of Glasgow. He is the author of Television Drama: Realism, Modernism and British Culture (2000), a member of the Editorial Board of Screen and General Editor, with Charlotte Brunsdon, of the Oxford Television Studies series.
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| adam_txt |
Contents Introduction - ‘A Television Classic’.і 1 2 3 4 5 6 7 Edge of Darkness·. Production Context . 7 British Television Drama in the 1980s.22 Britain and the ‘Strong State’ in the 1980s.зо Narrative and the Serial Form. 50 Conspiracy Genre and Paranoid Narrative. 71 Death, Grief and Magical Thinking. 102 Reviewing Television. 121 Afterword: Troy Kennedy Martin.ізз Notes.139 Awards.143 Bibliography. 144 Credits. 147 Index 150
*- dge of Darkness (ВВС, 1985) is a conspiracy thriller, a psychological drama, and a mythic tale of the death and regeneration of the planet. Written by Troy Kennedy Martin, directed by Martin Campbell, and produced by Michael Wearing, it marks one of the high points of a British television drama, which was both popular in its generic appeal and groundbreaking in its narrative style. Broadcast at a time of high paranoia about the secret state, the hazards of nuclear energy and nuclear weapons proliferation, Edge of Darkness stars Bob Peck as Craven, a CID detective investigating the death of his environmental activist daughter, played by Joanne Whalley. His search for the truth leads him into a murky world of conspiracy involving the nuclear industry and the CIA (Joe Don Baker in a bravura performance as the CIA agent Darius Jedburgh). John Caughie’s insightful study of the series situates it in the political context of the 1980s and in the context of British television drama in transition. He traces Edge of Darkness’s exploration of the pathology of grief, developing notions of paranoia, myth and magical thinking to highlight the ways in which Troy Kennedy Martin takes the political thriller beyond politics. The book includes an Afterword by the screenwriter, Troy Kennedy Martin. is Professor of Film and Television Studies at the University of Glasgow. He is the author of Television Drama: Realism, Modernism and British Culture (2000), a member of the Editorial Board of Screen and General Editor, with Charlotte Brunsdon, of the Oxford Television Studies series. |
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