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