Relevant bibliographies by topics / She wrote (Television program)

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Academic literature on the topic 'She wrote (Television program)'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "She wrote (Television program)"

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Brott, Shirley. "News of The Academy of Neonatal Nursing." Neonatal Network 26, no. 5 (September 2007): 313–15. http://dx.doi.org/10.1891/0730-0832.26.5.313.

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This year’s $1,000 Academic Scholarship Award goes to Carolyn Terry, RNC, BSN. Carolyn is attending State University of New York at Stony Brook, where she plans to complete her master of science degree and the neonatal nurse practitioner program in June of 2008. Lori A. Escallier, PhD, RN, CPNP, clinical associate professor at Stony Brook, wrote, “Ms. Terry’s academic ability has proven outstanding. She is a leader among her colleagues and is an example of the epitome of nursing. She is industriously conscientious of the ever-changing health care environment and leads through example.”
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Prawira, Indra. "Konstruksi Realitas Media Hiburan: Analisis Framing Program Redaksiana Di Trans7." Humaniora 5, no. 2 (October 30, 2014): 1066. http://dx.doi.org/10.21512/humaniora.v5i2.3222.

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News program is one of Indonesia's most popular programs although in practice the program is still unable to compete with entertainment programs. Redaksiana program has successfully captured the heart of Indonesian audiences with achieving a high rating. This program displays different information to the news program in general, so it is more interesting to watch. Similar to other media, television program Redaksiana on Trans7 presents the news as the result of selection, construction, and reconstruction. Research problem studied is how Redaksiana constructs the news and what frames it uses. This research was conducted using qualitative method through the Pan and Kosicky framing model analysis. The structure of news framing elements studied was schematic, script, thematic, and rhetorical. The results were seen from the schematic structure and news scripts “Lose in votes, Legislator Candidate Blocked the Village Road” according to the script writing television news. Redaksiana featured the elements of 5Ws + 1H as the main element of the news. However, the frame was clearly visible in thematic and rhetorical. The way Redaksiana wrote the fact (thematic) and how Redaksiana emphasized the fact (rhetorical) of news writing indulge sensational elements. It is then pointed out as a factor that makes the news “Lose in votes, Legislator Candidate Blocked the Village Road” interesting to watch.
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Sullivan, Eleanor J. "Leader Interview: A Long, Evolving Nursing Career." Creative Nursing 7, no. 4 (January 2001): 4–12. http://dx.doi.org/10.1891/1078-4535.7.4.4.

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For this issue of Creative Nursing Journal, our Leader Interview is with Eleanor J. Sullivan, RN, PhD, FAAN, who began her career at an associate-degree nursing program and rose to become a doctorate-level researcher and nursing school dean, most recently at the University of Kansas. She served as president of Sigma Theta Tau International from 1997 to 1999, and is editor of the Journal of Professional Nursing, a publication of the American Association of Colleges of Nursing. She also wrote one the best known textbooks on nursing management, Effective Leadership and Management in Nursing, now in its fifth edition. CNJ publisher Marie Manthey interviewed her friend.
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Oliver, Sophie. "Fashion in Jean Rhys/Jean Rhys in Fashion." Modernist Cultures 11, no. 3 (November 2016): 312–30. http://dx.doi.org/10.3366/mod.2016.0143.

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This article proposes a reciprocal relationship between Jean Rhys's interwar fiction and the mass media that popularised her work in the 1960s and 1970s. Surveying the signs that Rhys and her writing had become fashionable – for example, press reviews and profiles, including in colour supplements and fashion magazines (even her own shoot), along with television adaptations of the work she wrote or set in the 1930s – the piece discusses how her postwar ‘readers’ interpreted this literature of an earlier period in a way that made sense of their own era. It argues that this use of the past to understand the contemporary moment follows the logic of fashion's cyclical temporality, and that it was prefigured in the fashion-conscious, modernist short stories of Rhys's first publication, The Left Bank (1927). The article ultimately suggests that Rhys's work was subject to fashion, an eventuality that it had always envisaged.
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Odom, Selma Landen. "Travel and Translation in the Dance Writings of Beryl de Zoete." Dance Research Journal 38, no. 1-2 (2006): 76–86. http://dx.doi.org/10.1017/s014976770000735x.

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Around the time Marcia Siegel's dance writing career began, an important predecessor's ended with the death in 1962 of Beryl de Zoete, critic and ethnologist. Of Dutch descent, de Zoete was born in London in 1879 into a family of brokers whose name still figures prominently on the British stock exchange. Traveling independently, using her gifts for meeting people and learning languages, she wrote three unprecedented ethnographies, beginning with the book she produced with Walter Spies, Dance and Drama in Bali (1938), and followed by The Other Mind: A Study of Dance in South India (1953) and Dance and Magic Drama in Ceylon (1957). From the late 1920s through the mid-1950s, de Zoete also published many articles on her encounters with European dance and music, and her reviews of performances and books appeared regularly in newspapers, most notably in the influential weekly New Statesman and Nation. After she died, her friend Arthur Waley completed her planned collection of short pieces, The Thunder and the Freshness (1963), titled after poet John Keats's description of a waterfall. This image evoked, for her, the sound of dance drumming before dawn.In this talk, I sketch de Zoete's life and begin to think about how she worked as a writer. As part of my doctoral research, I investigated her connections with Dalcroze Eurhythmies, which teaches music through movement and improvisation. I also draw on previous work by Margaret Dale, who remembers de Zoete's visits to Sadler's Wells Ballet rehearsals in the 1940s and later consulted her about presenting Sinhalese dance on BBC television.
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Scott, Joan W. "Writing Women, Work, and Family: The Tilly-Scott Collaboration." Social Science History 38, no. 1-2 (2014): 113–20. http://dx.doi.org/10.1017/ssh.2015.11.

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Between 1973 and 1977, Louise Tilly and Joan Scott wrote two articles and a book on the history of women that became a standard in the history of women, work, and the development of industrial capitalism. The authors occasionally met to work together, and they spoke on the phone, but mostly, the collaboration was based on their exchange of hundreds of letters. Based largely on the letters that Tilly wrote to her, Scott's reminiscence looks at the way that Louise combined her scholarly work with raising a family, and how she advanced the production of knowledge about women's history through her efforts to put more women and women's history on the program of major history conferences. Finally, the author details how their efforts to critique prevailing assumptions that the history of women's work was an expression of advancing individualist values, made possible by the expansion of the industrial city, resulted in the publication of Women, Work, and Family.
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Setianingrum, Vinda Maya. "PROGRAMMING RADIO BERDASARKAN KARAKTER PENDENGAR PEDESAAN DAN PERKOTAAN (STUDI KASUS DI RADIO PANDOWO TULUNGAGUNG DAN SHE RADIO SURABAYA JAWA TIMUR)." Journal of Society & Media 1, no. 1 (April 30, 2017): 84. http://dx.doi.org/10.26740/jsm.v1n1.p84-101.

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AbstrakDi era sekarang, meski ada berbagai pilihan media, radio tetap sebagai media alternatif dengan karakteristik pendengar tersendiri. Sifat multitasking radio mengharuskan manajer radio untuk menyediakan program siaran yang menarik bagi pendengarnya. Ini adalah hal yang umum sebagai radio, khususnya radio swasta membuat beberapa perubahan program mereka untuk memenuhi kebutuhan pendengar dan permintaan pasar. Karena konsep segitiga sukses sebuah radio swasta bergantung pada sinkronisasi program dan pendengar, kemudian, berdampak pada pencapaian iklan. Dalam penelitian ini, peneliti menemukan bahwa beberapa radio swasta melakukan perubahan tidak hanya pada program mereka, tetapi juga format dan program radio serta segmen pendengar. Hal tersebut dilakukan oleh She Radio Surabaya dan Radio Pandowo Tulungagung, Jawa Timur. Peneliti menggunakan jenis penelitian kualitatif dan metode studi kasus. Data primer diperoleh melalui wawancara mendalam dengan beberapa informan kunci, yakni direktur program dan manajer dari kedua radio. Dalam proses analisis, peneliti menjelaskan secara kualitatif dengan menggunakan perspektif komunikasi pemasaran. Temuan penelitian menunjukkan bahwa She radio memilih format spesifik perempuan , sementara Pandowo FM menggunakan format budaya.Kata kunci: Radio, format, programing, audiens, She Radio, PandowoAbstractRecently, the various options of media, either printed, television, or, even, internet media, the radio remains as alternative media with its own audience's characteristic. Therefore, the 'multitasking' radio turns the radio's manager to keep up providing interesting broadcasting programs for its listener. It is a common thing as a radio, particularly a private radio makes some changes of their programs in fulfilling the listener and market demand as well. Since the triangle concept of successful in a private radio relies on synchronization of program and listener, then, eventually, impacts on advertising achievement. However, in this research, the researcher finds out that several private radios conducting changing is not only on their program, but also their radio station, format and radio program as well as the listener's segment extremely. Those issues are conducted by She Radio and Radio Pandowo Tulungagung, East Java. Hence, the researcher dissect this case using type of qualitative research and case study method. Therefore, the primary data is gained through in depth interview to several key informants, which is program director and manager of both radios. In addition, the researcher also digs up information from the programmer, broadcaster, music director, marketing, and advertising division as well. In analysis process, the researcher describes qualitatively by using perspective of marketing communication in order to be able finding similarity and difference of both objects. Finally, the research finding shows that She radio turns as female specific formatted radio, while Pandowo FM use cultural formatted radio.Keywords: Radio, format, programing, audiens, She Radio, Pandowo
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Woods, Michelle. "Václav Havel and the Expedient Politics of Translation." New Theatre Quarterly 26, no. 1 (February 2010): 3–15. http://dx.doi.org/10.1017/s0266464x10000011.

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Václav Havel's plays of the 1960s, 1970s, and 1980s were evaluated primarily for their dissident content. Leaving, which he wrote in 2007, followed his thirteen-year premiership and presidency of the Czech Republic. In this article, Michelle Woods asks whether perception of Havel's plays in England was confined to their alleged politics, how this view affected their translation, adaptation, and reception, and whether they can now be read beyond the ideological positions of the Cold War. She focuses on Protest at the Royal National Theatre in London in 1980 and Sorry on BBC Television in 1977, as well as on two commissions which failed to be produced: The Garden Party for the Royal Shakespeare Company in 1964 and The Conspirators for the National in 1970. She argues that the plays were fundamentally misread through the prism of a Western conception of East European dissidence, which determined whether they were produced or not, and led to the dismissal of Havel's translator, Vera Blackwell. Material from Blackwell's recently opened archive is here used to reassess her role in the dissemination of Havel's plays in the English-speaking world. Michelle Woods is Assistant Professor of English at SUNY New Paltz and is the author of Translating Milan Kundera (2006) and several articles on the translation of literature and film.
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Mikić, Vesna, and Adriana Sabo. "‘Women, be Good!’ – Music in the Production of ‘Femininities’: Case Studies of Grey’s Anatomy and The Good Wife." AM Journal of Art and Media Studies, no. 17 (October 16, 2018): 79. http://dx.doi.org/10.25038/am.v0i17.272.

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As Keith Negus and John Street wrote in their Introduction to the “Music and Television” Special Issue of the journal Popular Music (No. 3, 2002), television is an important mediator of the knowledge, understanding and experience of music. Inverting their formulation to “music is an important mediator of knowledge, understanding, and experience of television” (as James Deaville writes), we can further our understanding of different, more or less obvious meanings transferred by a television program. Bearing these two complementary ideas in mind, we aim to map the kinds of knowledge that are being produced and mediated through music in two extremely popular TV shows, which are also famous for their (innovative) use of music: Grey’s Anatomy (ABC, 2005) and The Good Wife (CBS, 2009–16). These two series – a medical drama and a series about lawyers and politics – have (at least) two things in common: 1) the already-mentioned role that music plays in their narratives, and 2) the fact that both focus on female characters and ‘feminine’ stories, employing numerous, liberal and/or postfeminist discourses. Our goal will thus be, to investigate what ‘kind’ of a female subject is being produced through interactions of music and image and by the music itself, as well as what kind of (post)feminist discourse is deemed ‘acceptable’ in a mainstream television discourse.Article received: March 31, 2018; Article accepted: May 10, 2018; Published online: October 15, 2018; Original scholarly paperHow to cite this article: Mikić, Vesna, Adriana Sabo. "‘Women, be Good!’ – Music in the Production of ‘Femininities’: Case Studies of Grey’s Anatomy and The Good Wife." AM Journal of Art and Media Studies 17 (2018): 79−88. doi: 10.25038/am.v0i17.272
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Widiastuti, Ni Made Ayu, Anak Agung Sagung Shanti Sari Dewi, and Sang Ayu Isnu Maharani. "English Development as a Second Language in Relation with TV Exposure." Lingual: Journal of Language and Culture 5, no. 1 (June 6, 2018): 19. http://dx.doi.org/10.24843/ljlc.2018.v05.i01.p03.

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The aims of this study are to know the role of young learner’s parents in choosing good and educating television program for their child, and to describe the effects of TV exposure in their child’s English language development. A five-year-old young learner who lives in Denpasar was observed in 2017. The data were collected by giving a questionnaire to the young learner’s parents in order to get the description of the effects of the television programs to her language development. As it is a following research of the previous research on English vocabulary acquisition, the results of the observation of the young learner and the interview with her parents that have already been done are used to support the analysis of this small research. The collected data were analysed descriptively based on approaches from Barr, et.al. (2010), Christakis (2009), and March (2004) about English language acquisition and language development of young children. The results show that the young learner’s parents have the important role in choosing good and educating television program for her. It can be seen from the choices of cartoon movies as one of the television programs that is educating as well as entertaining for a child in her age, the intensive accompaniment when she was watching the movies, the limitation of television watching time, and also the parents’ assistance in order to help her understand the stories and vocabulary meanings. It is true that good content, context, and the amount of daily TV viewing time as well as parental assistance will be beneficial for the young learner’s second language development in informal learning situation. The effectiveness of watching cartoon movies has led her to gain the positive second language development in her bilingual condition, although English code-switching in Indonesian sentences sometimes occur. Keywords: SLA, English, language development, TV exposure, cartoon movies
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Books on the topic "She wrote (Television program)"

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The unofficial Murder, she wrote casebook. New York, NY: Kensington Books, 1997.

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Collins, Max Allan. The best of crime & detective TV: Perry Mason to Hill Street blues, the Rockford files to Murder she wrote. New York: Harmony Books, 1988.

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Madison Avenue shoot: A Murder, she wrote mystery : a novel. New York: Obsidian, 2009.

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It's always sunny in Philadelphia: The 7 secrets of awakening the highly effective four-hour giant, today : Charlie, Mac, Dennis, Sweet Dee and Frank wrote this book. New York, NY: Dey ST./HarperCollins Publishers, 2015.

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1939-, Culver Tom, and Iland Nancy Goodman 1960-, eds. The Murder, she wrote cookbook. Chicago, Ill: Chicago Review Press, 1997.

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Parish, James Robert. The Unofficial Murder She Wrote Casebook. Movie Publisher Services, 1994.

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1935-, Bain Donald, and Bain Donald 1935-, eds. A very merry Murder, she wrote: Two Murder, she wrote mysteries. New York, N.Y: Penguin Putnam, 2004.

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A Very Merry Murder, She Wrote. doubleday, 2004.

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Madison Avenue Shoot A Murder She Wrote Mystery A Novel. Signet Book, 2010.

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Deng, Yunxiang. Hong lou meng yi: Dian shi ju "Hong lou meng" pai she san ji. Sichuan sheng xin hua shu dian jing xiao, 1988.

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Book chapters on the topic "She wrote (Television program)"

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"Jo Carson." In Writing Appalachia, edited by Katherine Ledford and Theresa Lloyd, 476–86. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813178790.003.0069.

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Playwright, fiction writer, poet, and horsewoman Jo Carson was born in Johnson City, Tennessee, where she lived almost all her life. She became interested in theater while studying at East Tennessee State University, where she earned degrees in theater and communications. Early in her career, Carson worked for Broadside Television, a Johnson City cable series featuring locally made documentaries about the history and folklife of northeastern Tennessee, southwestern Virginia, and western North Carolina. From 1972 to 1992, she worked for the Johnson City–based Road Company, a professional touring theater company for which she wrote two plays and performed in many. Carson frequently took her immediate surroundings and their history as her subject....
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Gilmore, Leigh. "Neoliberal Life Narrative." In Tainted Witness, 85–118. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231177146.003.0004.

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Chapter three examines the historicized women’s life narrative as it migrates into the 21st century, via Oprah Winfrey’s Book Club and television show, to the genres of self-help and redemption --analyzes how the memoir scandals of the late 1990s were invoked to discredit Rigoberta Menchú’s testimonio, but also focused additional vitriol at women who wrote about incest and sexual violence within families. The chapter goes on to offer an alternative history of the memoir boom to the conventional association of memoir and confessional culture by dating its beginning to self-representational writing by radical women of color, queer activists, and literary innovators in the 1980s, and uses the response to Kathryn Harrison’s memoir, The Kiss, to demonstrate how judgments about women’s credibility operate across legal and cultural courts of public opinion. The chapter further claims Harrison as pivotal episode in the memoir boom that solidified the power of the backlash and made it a formal part of the boom, and identifies further lack of credibility and social authority as James’ Frey’s memoir, A Million Little Pieces, was attacked. The chapter concludes by examining how Elizabeth Gilbert and Cheryl Strayed revived and redefined memoir to feature a traumatized heroine who may evade critique is she is resilient and sexually well-adjusted
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Lauter, Paul. "Canon Theory and Emergent Practice." In Canons and Contexts. Oxford University Press, 1991. http://dx.doi.org/10.1093/oso/9780195055931.003.0012.

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I want to begin with what some might cite as a characteristic move of the socialist intellectual in capitalist society: namely, biting the hand that feeds you. In the course of explaining to me the rejection by the National Endowment for the Humanities board of a highly-rated proposal for a Seminar for College Teachers, the NEH program officer wrote that “some reviewers were concerned that the focus on the canon, while doubtless an important issue for teachers of American literature, lacked the kind of scholarly significance generally expected of Summer Seminars. . . .” Pursuing this theme, he later wrote that my “application was rather more thesis-driven than most of our seminar proposals.” I discover everywhere signs of this division. On the one side, we find the supposedly pedagogical or professional problems raised by the question of the canon, and on the other side, what is lauded as “of scholarly significance” or, more simply, criticism or theory. In a recent “Newsletter for Graduate Alumnae and Alumni" issued by the Yale English Department, for example, Cyrus Hamlin ruminates “precisely how this procedure of hermeneutical recuperation” he is proposing “should affect the canon and the curriculum of our institution is difficult to say. . . .” and he proceeds to ignore the question (p. 2). In the same document, Margaret Homans suggests why he does so. “At Yale,” she writes . . . while post-structuralism has proven to be intellectually more unsettling than liberal humanism, the feminist versions of post-structuralism are institutionally more easily accommodated than some of the projects of liberal feminism, such as challenging the content of the canon we teach, with its vast preponderance of white, male authors (p. 4). . . . Interestingly, Homans here appropriates the project of canon revision solely to the domain of “liberal feminism,” a common enough way of trying to limit the scope of this intellectual movement to a supposed clique of uppity, middleclass women.
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Copeland, Jack. "Baby." In The Turing Guide. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198747826.003.0029.

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The modern computer age began on 21 June 1948, when the first electronic universal stored-program computer successfully ran its first program. Built in Manchester, this ancestral computer was the world’s first universal Turing machine in hardware. Fittingly, it was called simply ‘Baby’. The story of Turing’s involvement with Baby and with its successors at Manchester is a tangled one. The world’s first electronic stored-program digital computer ran its first program in the summer of 1948 (Fig. 20.1). ‘A small electronic digital computing machine has been operating successfully for some weeks in the Royal Society Computing Machine Laboratory’, wrote Baby’s designers, Freddie Williams and Tom Kilburn, in the letter to the scientific periodical Nature that announced their success to the world. Williams, a native of the Manchester area, had spent his war years working on radar in rural Worcestershire. Kilburn, his assistant, was a bluntspeaking Yorkshireman. By the end of the fighting there wasn’t much that, between them, they didn’t know about the state of the art in electronics. In December 1945 the two friends returned to the north of England to pioneer the modern computer. Baby was a classic case of a small-scale university pilot project that led to successful commercial development by an external company. The Manchester engineering firm Ferranti built its Ferranti Mark I computer to Williams’s and Kilburn’s design: this was the earliest commercially available electronic digital computer. The first Ferranti rolled out of the factory in February 1951. UNIVAC I, the earliest computer to go on the market in the United States, came a close second: the first one was delivered a few weeks later, in March 1951. Williams and Kilburn developed a high-speed memory for Baby that went on to become a mainstay of computing worldwide. It consisted of cathode-ray tubes resembling small television tubes. Data (zeros and ones) were stored as a scatter of dots on each tube’s screen: a small focused dot represented ‘1’ and a larger blurry dot represented ‘0’. The Williams tube memory, as the invention was soon called, was also used in Baby’s immediate successors, built at Manchester University and by Ferranti Ltd.
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Smith, Gary. "Intelligent or obedient?" In The AI Delusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198824305.003.0003.

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Jeopardy! is a popular game show that, in various incarnations, has been on television for more than 50 years. The show is a test of general knowledge with the twist that the clues are answers and the contestants respond with questions that fit the answers. For example, the clue, “16th President of the United States,” would be answered correctly with “Who is Abraham Lincoln?” There are three contestants, and the first person to push his or her button is given the first chance to answer the question orally (with the exception of the Final Jeopardy clue, when all three contestants are given 30 seconds to write down their answers). In many ways, the show is ideally suited for computers because computers can store and retrieve vast amounts of information without error. (At a teen Jeopardy tournament, a boy lost the championship because he wrote “Who Is Annie Frank?” instead of “Who is Anne Frank.”A computer would not make such an error.) On the other hand, the clues are not always straightforward, and sometimes obscure. One clue was “Sink it and you’ve scratched.” It is difficult for a computer that is nothing more than an encyclopedia of facts to come up with the correct answer: “What is the cue ball?” Another challenging clue was, “When translated, the full name of this major league baseball team gets you a double redundancy.” (Answer: “What is the Los Angeles Angels?”) In 2005 a team of 15 IBM engineers set out to design a computer that could compete with the best Jeopardy players. They named it Watson, after IBM’s first CEO, Thomas J. Watson, who expanded IBM from 1,300 employees and less than $5 million in revenue in 1914 to 72,500 employees and $900 million in revenue when he died in 1956. The Watson program stored the equivalent of 200 million pages of information and could process the equivalent of a million books per second. Beyond its massive memory and processing speed, Watson can understand natural spoken language and use synthesized speech to communicate. Unlike search engines that provide a list of relevant documents or web sites, Watson was programmed to find specific answers to clues. Watson used hundreds of software programs to identify the keywords and phrases in a clue, match these to keywords and phrases in its massive data base, and then formulate possible responses.
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"Max Ramsay is the cardboard cutout Ozzie clod who warns his son, Shane, against dating Daphne because she works as a stag-night stripper. His main fear seems to be the effect the newly arrived Daphne might have on the price of his property. (Smurthwaite 1986) As Grahame Griffin notes, “the closing credit sequence . . . is a series of static shots of suburban houses singled out for display in a manner reminiscent of real estate advertisements” (Griffin 1991: 175). Small business abounds in Neighbours: a bar, a boutique, an engineering company, with no corporate sector and no public servants or bureaucrats apart from a headmistress. 10 Writing skills must be acknowledged. It is very hard to make the mundane interesting, and indeed to score multiple short plot lines across a small number of characters (twelve to fifteen), as is appropriate to representing the local, the everyday, the suburban. As Moira Petty remarks, Neighbours is successful because “it’s very simple. The characters are two dimensional and the plots come thick and fast. The storylines don’t last long, so if you don’t like one, another will come along in a few days” (quoted by Harris 1988). These ten textual reasons doubtless contribute, differentially across different export markets, to Neighbours’s success in many countries of the world. Its wholesome neighborliness, its cosy everyday ethos would appear to be eminently exportable. However, lest it be imagined that Neighbours has universal popularity or even comprehensibility, there remain some 150 countries to which it has not been exported, and many in which its notions of kinship systems, gender relations, and cultural spaces would appear most odd. The non-universality of western kinship relations, for example, is clearly evidenced in Elihu Katz and Tamar Liebes’s comparison of Israeli and Arab readings of Dallas (Katz and Leibes 1986). And, indeed, there are two familiar territories to be considered later – the USA and France – in which it has been screened and failed. Significantly, the countries screening Neighbours are mostly anglophone and well familiar with British, if not also with Australian soaps. But why does Neighbours appeal so forcibly in the UK? In the UK market, I suggest, five institutional and cultural preconditions enabled Neighbours’s phenomenal success. Some of these considerations are, of course, the sine qua non of Neighbours even being seen on UK television. The first precondition was its price, reportedly A$54,000 per show for two screenings; with EastEnders costing A$80,000 per episode, Neighbours was well worth a gamble (Kingsley 1989: 241). Scheduling, too, was vital to Neighbours’s success. This has two dimensions. Neighbours was the first program on UK television ever to be stripped over five weekdays (Patterson 1992). BBC Daytime Television, taking off under Roger Loughton in 1986, while Michael Grade was Programme Controller, was so bold in this as to incur the chagrin of commercial." In To Be Continued..., 112. Routledge, 2002. http://dx.doi.org/10.4324/9780203131855-14.

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"In France, Neighbours, dubbed as Les voisins, was launched by Antenne 2 in August 1989. Screened twice daily at 11:30 and 5:45, it secured ratings of 24 per cent of the market, in fact Antenne 2’s average for that year. However, for reasons which Antenne 2 is unwilling to disclose, the evening screening was shifted after only ten editions to 6:30. This put it up against stronger competition from others of the then five channels, and its rating dropped to just below 16 percent of market share. A further scheduling change briefly preceded its demise after a total of only seven months’ screening. The 185 episodes purchased only just included the debut of Kylie Minogue at episode 169. According to its French agent, Rolande Cousin, Antenne 2 bought Neighbours exclusively on the basis of its colossal British success (Cousin 1992), a phenomenon mentioned by all six articles heralding Neighbours’s arrival on French screens; its Australian success was referred to by four articles (Baron 1989; Brugière 1989; Lepetit 1989; Pélégrin 1989; Thomann 1989; and A.W. 1989). The Minogue factor also appears significant. Her singing career peaked in 1988–1989, and among the six articles she rated one cover story (Télé 7 jours), an exclusive interview and a cover story with Jason Donovan (in Télé poche), and two other references (Brugière 1989; and Thomann 1989). Cousin identifies five other potential appeals in the program for French viewers: its sun, its “acceptable exoticism,” its lack of blacks (a sensitive topic in France, as witness the racist political career of Jean-Marie Le Pen), its lack of other disturbing social material, and its everyday issues (Cousin 1992). For all this potential appeal, Antenne 2 still delayed transmitting by three months, pushing its opening into August, when most of France goes on holiday, and opted instead for the American Top Models (Baron 1989: 25). This lack of confidence in its purchase instances what Cousin called a “Pavlovian reflex” against non-US serial fiction (Cousin 1992), and points to broader issues than the fame of two of the program’s principals. The French commentaries differ noticeably from the American in their assessment of the ten textual features of Neighbours singled out above. One feature – women as doers – is not mentioned at all. All other features are mentioned at least once. The two most often referred to are the everyday, and the domestic and suburban. But Neighbours’s non-exceptionality, its everyday realism, had a different status for French than for American reviewers. For most of the latter it offered a desirable antidote to the spectacular confections of home-grown soaps. For French reviewers it was treated in one of two ways. While some derogated the program’s perceived banality (Brugière 1989; Pélégrin 1989), others, whether high(er) brow or plugging the Minogue factor, remained curiously non-committal about its everyday realism. There was a similarly curious abstention from either positive or negative evaluation of the program. Commentators’ apparent unease with this centrally distinguishing feature of Neighbours, its everyday realism, suggests that it represented something of a conundrum in the mediascape, in particular the field of television serial fiction screened in France, and may well echo the unease evidently felt by its buyer. The reasons require some clarification." In To Be Continued..., 125. Routledge, 2002. http://dx.doi.org/10.4324/9780203131855-27.

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