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Caroline Aherne - the Royal Family! Mrs Merton and the Fast Show!
Caroline Aherne, illustrated colour biography.
The Royle Family
Caroline Aherne and Craig Cash's unique brand of reality comedy is compulsive viewing for millions. Over three unmissable series, the show has spawned a wealth of hilarious one-liners and classic quotable scenes. It is the stuff of mimicking, rewinding, and now, with The Royle Family My Arse, re-reading. Fully illustrated with program stills, props, and memorabilia, this is the most complete collection of Royle Family wit so far.
The Royle Family
Caroline Aherne and Craig Cash's unique brand of reality comedy is compulsive viewing for millions. Over three unmissable series, the show has spawned a wealth of hilarious one-liners and classic quotable scenes. It is the stuff of mimicking, rewinding and rewinding and now, with The Royle Family: The Scripts: Series 3 the, re-reading. Bloody brilliant! Often touching, occasionally dark, The Royle Family is above all hilariously funny. Now The Royle Family: The Complete Scripts gives readers the chance to re-live their favourite moments. Crammed with laugh-aloud one-liners, this book is guaranteed to appeal to the programme's many fans.
The Kaleidoscope British Christmas Television Guide 1937-2013
A Guide to British television programmes shown at Christmas time, throughout the years.
Royle Family
To accompany the second series of The Royle Family, here are the unedited scripts. With an introduction and a selection of photographs, this is a must have for fans. Experience your favourite scenes, funniest moments and amusing oneliners.
Reluctant Heroes: The Story of Elbow
When Elbow won the Mercury Prize in 2008 for their fourth studio album - The Seldom Seen Kid - the accolade followed an organic 17 year long career marked by four classic albums and a cult following that cast them in the role of Manchester's best kept music secret. Elbow started out at a time when great songs and evocative lyrics were not generally recognised. Their music transcended genre, age and image, eventually finding its own distinctive global audience as Guy Garvey evolved into one of the most brilliant and intriguing lyricists of recent times. Reluctant Heroes charts Elbow's long journey from humble roots through modest success to international recognition. It features interviews with the band and those close to them to form the most complete band history to date.
A Place Called Here
A redemptive and captivating novel from the No. 1 bestselling author of PS. I Love You.
PS, I Love You
Meaningful and moving – THE classic million-copy bestselling love story from Cecelia Ahern.
The British Television Pilot Episodes Research Guide 1936-2015
A new idea can become an expensive flop for TV executives. So from the earliest days of television, the concept of a pilot episode seemed like a good idea. Trying out new actors; new situations and new concepts before making a series was good economical sense. It was also tax deductible. Sometimes these pilots were shown on television; sometimes they were so awful they were hidden from sight in archives; and sometimes they were excellent one-offs, but a series seemed elusive and never materialised. Chris Perry has always been fascinated by the pilot episode. So many pilots are made annually, but never seen by audiences. Only a handful appear on screen. It's a hidden world of comedy, variety, drama and factual programming. This volume attempts to lift the lid on the world of the TV pilot by revealing the many transmitted and untransmitted episodes made through the decades.
Television Dramatic Dialogue
When we watch and listen to actors speaking lines that have been written by someone else-a common experience if we watch any television at all-the illusion of "people talking" is strong. These characters are people like us, but they are also different, products of a dramatic imagination, and the talk they exchange is not quite like ours. Television Dramatic Dialogue examines, from an applied sociolinguistic perspective, and with reference to television, the particular kind of "artificial" talk that we know as dialogue: onscreen/on-mike talk delivered by characters as part of dramatic storytelling in a range of fictional and nonfictional TV genres. As well as trying to identify the place which this kind of language occupies in sociolinguistic space, Richardson seeks to understand the conditions of its production by screenwriters and the conditions of its reception by audiences, offering two case studies, one British (Life on Mars) and one American (House).
