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Day of Execution
Television drama is frequently marginalised as a piece of fleeting popular culture rather than 'a more lasting art form'. The emergence of television studies has helped to question this mind-set. Innovative television drama can rival any field of the arts in terms of material worthy of critical exploration. This series of books focuses on 'outstanding' examples of British television dramas, centring on a single episode in an attempt to explain what makes both the episode in particular, and the series in general, remarkable. The social context, script, characters sets/locations, music, and direction are all focal points. This Classic British Television Drama (CBTD) series of books continues with an exploration of Man in a Suitcase's episode Day of Execution. Elements of Cold War espionage, American gumshoe, British thriller and 'Swinging' London combine in a series which is hard to define and was, arguably, ahead of its time.
Anticlockwise
The Avengers was a unique, genre-defying television series which blurred the traditional boundaries between 'light entertainment' and disturbing drama. It was a product of the constantly-evolving 1960s yet retains a timeless charm. The arrival of Tara King and Mother saw The Avengers shaken and stirred, as writers and directors playfully engaged with a variety of film and television genres. Steed and Tara face increasingly odd adventures and dangers: killer clowns, a giant nose, love drugs, deadly board games, duplicate Steeds, Victorian fog, an underground 'paradise', and vengeful Home Counties cowboys. Anticlockwise draws on the knowledge of a broad range of experts and fans of The Avengers as it explores the surreal, unpredictable, psychedelic world of Tara King. "The Avengers challenged audiences to enjoy art beyond the ordinary." (Matthew Lee) "The Avengers is a wonderful example of avoiding the tyranny of common sense." (Robert Fuest)
Avengerland Regained
The Avengers was a unique, genre-defying television series which blurred the traditional boundaries between 'light entertainment' and disturbing drama. It was a product of the constantly-evolving 1960s yet retains a timeless charm. The creation of The New Avengers, in 1976, saw John Steed re-emerge, alongside two younger co-leads: sophisticated action girl Purdey and Gambit, a 'hard man' with a soft centre. The cultural context had changed - including the technology, music, fashions, cars, fighting styles and television drama itself - but Avengerland was able to re-establish itself. Nazi invaders, a third wave of cybernauts, Hitchcockian killer birds, a sleeping city, giant rat, a deadly health spa, a skyscraper with a destructive mind...The 1970s series is, paradoxically, both new yet also part of the rich, innovative Avengers history. Avengerland Regained draws on the knowledge of a broad range of experts and fans as it explores the final vintage of The Avengers.
Avengerworld - The Avengers in Our Lives
The Avengers was a revolutionary series that always playfully twisted perceptions, pushed the boundaries of its genre and defied those who wished to pigeonhole it. The team behind The Avengers never forgot its primary objective was to entertain. And entertain it certainly did, inspiring successive generations to welcome The Avengers into their hearts. Right from its foreword by pioneering television historian Dave Rogers to its afterword by Jason Whiton of SpyVibe, Avengerworld celebrates the series, its international fandom and its fans. Over the course of more than forty essays, Avengers fans the world over relate how they first encountered the series, how they grew up with it at their sides, made friends, engaged with fandom and were inspired to do extraordinary things. Proceeds from this book will be donated to Champion Chanzige, a charity organisation that exists to improve conditions for underprivileged children at a primary school in Southern Tanzania - and helps them to do extraordinary things too.
Bright Horizons
The Avengers was a unique, genre-defying television series which blurred the traditional boundaries between 'light entertainment' and disturbing drama. It was a product of the constantly-evolving 1960s yet retains a timeless charm. At the crossroads between the Cathy Gale-era stricture of video tape and the glossy, surreal, comic-strip world of 'glorious Technicolor', the monochrome filmed Emma Peel season represents the artistic pinnacle of a show which was exported around the world and remains the only British television drama to be networked at 'primetime' in the USA. Bright Horizons draws on the knowledge of a broad range of experts and fans of The Avengers - including scriptwriter Roger Marshall - offering critical explorations of all twenty-six 'mini-films' which made up Season 4, the collective peak of an extraordinary television series.
Mrs. Peel, We're Needed
The Avengers was a unique, genre-defying television series which blurred the traditional boundaries between 'light entertainment' and disturbing drama. It was a product of the constantly-evolving 1960s yet retains a timeless charm. The monochrome filmed Emma Peel season had established a cult following for a series which became an intrinsic part of the 'Swinging Sixties'. Backed by US dollars, the show was now filmed 'in color' and Avengerland becomes stranger and more playful than ever: Steed is shrunk to the size of a desk pad, forced to evade a machine-gun-toting nanny; Emma Peel is tortured in a medieval ducking stool and turned into a living cybernaut. Mrs. Peel, We're Needed draws on the knowledge of a broad range of experts and fans of The Avengers as it explores the wonderfully mad Technicolor world of Emma Peel.
Tis Magic! Our Memories of Catweazle
Created by Richard Carpenter, Catweazle burst onto TV screens in 1970, capturing the hearts of children and adults alike. It starred Geoffrey Bayldon as the eponymous Saxon wizard, who was twice catapulted through time to a 1970s England full of technology that left him bewildered. His companions and mentors in "the new magic" were children, Carrot (Robin Davies) and Cedric (Gary Warren), both of whom he befriended. Tis Magic! Our Memories of Catweazle celebrates the 50th Anniversary of the series with forty brilliant essays in which writers explore how Catweazle has touched their lives. Extensively illustrated, it boasts a foreword by Harriet Whitehouse, daughter of Catweazle's creator, and an afterword by Venetia Davies, wife of Robin Davies. Today, Catweazle is regarded as one of the very best British children's television series. It remains well-loved and boasts a close-knit fan community brought together by the Official Catweazle Fan Club, which benefits from sales of this book.
The Bondian Cold War
James Bond, Ian Fleming’s irrepressible and ubiquitous ‘spy,’ is often understood as a Cold Warrior, but James Bond’s Cold War diverged from the actual global conflict in subtle but significant ways. That tension between the real and fictional provides perspectives into Cold War culture transcending ideological and geopolitical divides. The Bondiverse is complex and multi-textual, including novels, films, video games, and even a comic strip, and has also inspired an array of homages, copies, and competitors. Awareness of its rich possibilities only becomes apparent through a multi-disciplinary lens. The desire to consider current trends in Bondian studies inspired a conference entitl...
Man in a Suitcase: ITC-land Volume 1
Lew Grade's pioneering ITC company created a production line of quirky new drama series for British Independent Television in the 1960s, fulfilling a vision of providing entertaining, colour film series for a global market. In the first of a proposed series of critical guides, Avengers expert Rodney Marshall and television historian Matthew Lee explore ITC's Man in a Suitcase. Their book offers new, inventive readings of all thirty episodes. Man in a Suitcase is a product of its mid-1960s context, exploring themes such as Cold War espionage and Swinging Sixties playgirls, yet most of the stories also have a timeless feel to them: political corruption, blackmail, murder, missing persons or money, art theft. Despite the private detective/bounty hunter formula, there are welcome elements of playfulness, quirkiness, surrealism and a healthy abundance of social and political critique. Man in a Suitcase cannot be simplistically labelled as 'light entertainment' given the dark subject matter and its treatment.
