http://hdl.handle.net/2173/642 Wed, 22 May 2013 09:08:24 GMT 2013-05-22T09:08:24Z http://hdl.handle.net/2173/95414 Title: Mother knows best: Ruth and representations of mothering in 'Six Feet Under' Authors: Akass, Kim Sat, 01 Jan 2005 00:00:00 GMT http://hdl.handle.net/2173/95414 2005-01-01T00:00:00Z http://hdl.handle.net/2173/91611 Title: British television drama: a history Authors: Cooke, Lez Wed, 11 Jun 2003 00:00:00 GMT http://hdl.handle.net/2173/91611 2003-06-11T00:00:00Z http://hdl.handle.net/2173/87359 Title: Making amends: an interventionist theatre programme with young offenders Authors: Turner, Jane C. Abstract: This article discusses a project established at the New Vic Borderlines by Sue Moffat in 1999 titled Making Amends. It is an example of interventionist theatre undertaken with young offenders. The article draws on theories of restorative justice as well as ideas of learning development found in social constructivism in order to evaluate the theatre work and inform the evidence-based research that has emerged from the author's observations of the practice. It highlights some of the challenges that a theatre project such as Making Amends meets when evidencing value and the benefits of embodied and experiential learning to the participants. Description: Full-text of this article is not available in this e-prints service. This article was originally published [following peer-review] in Research in Drama Education, published by and copyright Routledge. Fri, 01 Jun 2007 00:00:00 GMT http://hdl.handle.net/2173/87359 2007-06-01T00:00:00Z http://hdl.handle.net/2173/87358 Title: State of play: contemporary "high-end" tv drama Authors: Nelson, Robin Abstract: Robin Nelson's State of play updates and develops the arguments of his influential TV drama in transition (1997). It is equally distinctive in setting analysis of the aesethetics and compositional principles of texts within a broad conceptual framework (technologies, institutions, economics, cultural trends). Tracing 'the great value shift from conduit to content' (Todreas, 1999), Nelson is relatively optimistic about the future quality of TV drama in a global market-place. But, characteristically taking up questions of worth where others have avoided them, Nelson recognises that certain types of 'quality' are privileged for viewers able to pay, possibly at the expense of viewer preference worldwide for 'local' resonances in television. The mix of arts and cultural studies methodologies makes for an unusual and insightful approach. Wed, 01 Aug 2007 00:00:00 GMT http://hdl.handle.net/2173/87358 2007-08-01T00:00:00Z