Live Television: Time, Space and the Broadcast Event
Publication Year: 2007
In this fascinating and accessible book, author Stephanie Marriott engages in a close and detailed analysis of the nature of live television. The book examines the transformations in our experience of time and space which are brought about by the capacity of broadcasting to bring us the world in the moment in which it is unfolding, situating the live television event in the context of an expanding and increasingly complex global communicative framework. Building her argument by means of a series of case studies of events as diverse as the assassination of President Kennedy in 1963, the attack on the World Trade Centre in 2001, the 2005 London bombings, election night coverage and live sports coverage, the author provides a meticulous and articulate account of ...
- Front Matter
- Back Matter
- Subject Index
Part I: Time and Space
Part II: The Live Event
© Stephanie Marriott 2007
First published 2007
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For Steve, for bearing with me[Page vi]
This book could not have been written without the encouragement of fellow members of the Ross Priory Group for Research on Broadcast Talk. Thanks in particular go to Martin Montgomery for inviting me in the first place, and to both Martin and Joanna Thornborrow for organizing the annual seminars. Members of the group over the last decade – Joanna, Martin, Andrew Tolson, Kay Richardson, Greg Myers, Arnt Maasø, Espen Ytreberg, Helen Wood, Nik Coupland, Trudy Haarman, Richard Fitzgerald, Peter Lunt, Shoshana Blum-Kulka, Paddy Scannell and others – have consistently provided intellectual stimulation and direction, and excellent company as well.
The book has been a long time in the making, and a number of colleagues and friends helped to sustain it along the way. Particular debts of gratitude are owed to Myra Macdonald, for reading the final draft and stopping me from giving up along the way, and to other good colleagues both at the University of Stirling and elsewhere, most especially Jane Sillars, Tim Thornicroft, Suzy Angus, Philip Schlesinger and Karen Lury, all of whom provided invaluable support at key moments.
Thanks are due to the Department of Film & Media Studies at Stirling for the study leave which allowed me to complete the research. I gratefully acknowledge the support of the AHRC, whose Research Leave Scheme provided the time and space to finishing writing the book.
Last but not least, special thanks are due to Steve Marriott, love of my life, for his patience and good humour in the face of my endless footering about.
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