Recent and Forthcoming
Forthcoming
Minor, L. (in press). The ‘milf’: a brief cultural history, from Mrs Robinson to Stifler’s mom
Dunleavy, Trisha and Weissmann, Elke (eds.) (2024) TV Drama in the Multi-Platform Age, Palgrave Macmillan.
Weismann, Elke (2024) “Gender and the Youthification of German Television: Zeit der Geheimnisse and Generational Change in High-End TV Drama”, in Dunleavy, Trisha and Weissmann, Elke (eds.) (2024) TV Drama in the Multi-Platform Age, Palgrave Macmillan.
Weissmann, Elke and Tyrrell, Belinda (2024) “From Climate Crisis to Environment(al) Hope: Community, Affect and Local Television”, in Cottell, S. (ed.) Communicating a World in Crisis. Peter Lang.
2023
Mills, Brett (2023). “Animated Animals: Cartoons, Children and Animal Studies”, in Schluchter, J-R. (ed.)Tiere – Medien – Bildung: Perspektiven der Animal Studies für Medien und Medienpädagogik. München: Kopaed Verlag, p. 113-124.
Mills, Brett (2023). “Recorded Stand-Up from Radio to Netflix”, in Double, O. (ed.).The Cambridge Companion to Stand-Up Comedy. Cambridge: Cambridge University Press
Mills, Brett (2023). ““Dogs are supposed to be able to instinctively live with purpose”: Brian, Family Guy, and the Inevitable Anthropocentrism of Satire”, in Susan, M. & Robert, M. (eds.) Animal Satire. Cham: Palgrave Macmillan, p. 313-331 19 p. (Palgrave Studies in Animals and Literature; vol. Part F1300).
Mills, Brett (2023). “‘I’m Waiting for You’: Detectorists and the Comedy of Landscape”, in Marshall, J. and Irwin, M. (eds.)UK and Irish Regional Comedy, Cham: Palgrave Macmillan.
Watts, Robert (2023). “‘Zero tolerance for candy asses’: World Wrestling Entertainment and Fast & Furious as transmedia storytelling”. In Gulam, J., Elliott, F. & Feinstein, S. (eds.) Full-Throttle Franchise: The Culture, Business and Politics of Fast & Furious. New York: Bloomsbury Publishing PLC, p. 233-250.
Dunleavy, Trisha and Weissmann, Elke (2023). “Cultural Diversity in Internationally C.oproduced High-end Drama”, Critical Studies in Television, Vol. 18 (2), pp. 117-127.
Weisssmann, Elke and Tyrrell, Belinda (2023). “Local Community Climate Activism, Television and Social Change”. Social Alternatives 42 (2), pp. 38-44.
Weissmann, Elke and Tyrrell, Belinda (2023). “A Future for the Climate. Devolution and Participation in Climate Documentaries”. In Mair, John, Riley, John and Beck, Andrew (eds.): Toxic News? Covering Climate Change, London: Bitesize Books, pp. 107-115.
Weissmann, Elke (2023): “From Traditional Regionalism to National Distinction. German Television Co-Productions Through Time”. Critical Studies in Television, e-publication before print. Available at (sagepub.com)https://journals.sagepub.com/doi/10.1177/17496020231211545 (accessed 05 December 2023).
Past Publications
2022
Mills, Brett (2022). “The Popular Entertainment Side of Broadcasting Should Receive Much More Attention”: The BBC, Comedy, and Nation-Building at Home and Abroad. Critical Studies in Television, 17(4). (Accessed 15 September 2022).
Minor, Laura (2022). ‘U OK hun’? Classed femininities, meme culture and locating humour in the celebrity ‘hun’. European Journal of Cultural Studies, 26(6), 840-862.
Watts, Robert (2022). “Resurrection, revelation, reception: Rescuing John From Cincinnati from the HBO narrative”. In Cardwell, S., Bignell, J. & Fife Donaldson, L. (eds.). Substance/style: Moments in television. Manchester: Manchester University Press, p. 156-177 22 p. (The Television Series).
Elke Weissmann and Belinda Tyrrell (2022) Community-led Television, Local Voice and Climate Action: Report for Liverpool City Council and Liverpool City Region Combined Authority — Edge Hill University (accessed 15 September 2022).
Andrea Wright (2022) ‘Of Gods, Monsters and Men: Science, Faith, the Law, and the Contested Body and Mind in The Frankenstein Chronicles (2015-) and The Alienist (2018-)’. In J. Leggott, J.A. Taddeo and Byrne, K (eds.) Diagnosing History: Medicine in Television Costume Dramas. Manchester University Press.
2021
Hannah Andrews (2021): Biographical Television Drama. Palgrave Macmillan.
Andrews, Hannah. (2021): Angelo Restivo, Breaking Bad and Cinematic Television. In: Critical Studies in Television, 16 (1): p. 69-71
Perelandra Beedles (2021) ‘The Gendered Practice of the TV Opt Out’ in Liddy, S and O’Brien, A (eds) Media Work, Mothers and Motherhood-Negotiating the International Audio-Visual Industry . Routledge
Mills, Brett (2021) ‘Chornobyl, Chernobyl, and Anthropocentric Storytelling’, Series: International Journal of TV Serial Narratives 7:1.
Mills, Brett (2021) ‘Liveness and the Live Episode in Television Comedy’ in Jonathan Cohn, Jennifer Porst and Phil Scepanski (eds) Very Special Episodes: Event Television and Social Change, New Brunswick: Rutgers University Press, pp. 174-185.
Mills, Brett (2021) ‘Comedy Form’ in Louise Peacock (ed) A Cultural History of Comedy – Volume 6, The Modern Age, London: Bloomsbury, 23-41.
Elke Weissmann (2021): ‘Imagining the Welsh Nation in a Post-patriarchal, Post-national World: Y Gwyll/ Hinterland and the Re-construction of Trans/National Masculinity’. NORMA: International Journal of Masculinity Studies.
Elke Weissmann (2021) ‘Who’s Nostalgia? Differentiation in German television’s audience address’ in Journal of Popular Television, Vol 9 (3).
2020
Andrews, Hannah. (2020): Drag celebrity impersonation as queer caricature in The Snatch Game. In: Celebrity Studies. 11, 4, p. 417-430
Mills, Brett (2020) ‘Comedy Form’ in Louise Peacock (ed) A Cultural History of Comedy – Volume 6, The Modern Age, London: Bloomsbury.
Mills, Brett (2020) ‘The Parrot, the Albatross, and the Cat: Animals and Comedy in Monty Python’ in Kate Egan and Jeffrey Weinstock (eds) And Now For Something Completely Different: Critical Approaches to Monty Python, London: Routledge, 141-54.
Weissmann, Elke (2020): ‘Provocation II: Not Another Article on The Wire: How Hierarchies of Gender Undermine TV Scholarship and Lead to Abuse’, in Critical Studies in Television, Vol. 15 (4): 399-408.
2019
Andrews, H. (2019) Distorted Recognition: the pleasures and uses of televisual historical caricature. In: Screen. 60 (2), p. 280-297.
Parkinson, Claire (2019): Animals, Anthropomorphism and Mediated Encounters. London, New York: Routledge.
Weissmann, Elke (2019): Popular Crime and Populist Investigation: The CSI Franchise and Multimedia Participation. In: Crime and Detection in Contemporary Culture. Vránová, M., Vernyik, Z. & Levente Palatinus, D. (eds.). Szeged, Hungary: Americana Books, p. 122-142
2018
Andrews, H. (2018): ‘Real people’s lives rarely fall into a three-act structure’: Writing biographical drama for British television. In: Journal of Screenwriting. 9 (1), p. 41-56.
Mills, Brett (2018) ‘Everything for Someone: For an Inclusive Definition of Public Service Broadcasting’ in Des Freedman and Vana Goblot (eds) A Future for Public Service Television, London: Goldsmiths Press, 161-4.
Mills, Brett (2018) ‘Will and Grace’ in Douglas Howard, David Lavery and David Bianculli (eds) The Finale: Considering the Ends of Television Series, Syracuse: Syracuse University Press, 439-44.
Mills, Brett (2018) ‘Comedy and the Nation in The Trip’ in Nick Marx and Matt Sienkiewicz (eds) The Comedy Studies Reader, Austin: University of Texas Press, pp unknown.
Mills, Brett and Rimmer, Mark (2017) ‘Pure and Simple: Comedy and Music in Car Share’ in Liz Giuffre and Phil Hayward (eds) Music in Television Comedy: Notes on Laughs, London: Routledge, 170-85.
Pateman, Matthew (2018): Joss Whedon, The Television Series, Manchester: Manchester University Press.
Weissmann, Elke (2018): Local, National, Transnational: Y Gwyll/Hinterland as Crime of/for all Places. In: European Television Crime Drama and Beyond. Turnbull, S., Peacock, S. & Hansen, K. T. (eds.). London: Palgrave, p. 119-137.
Wright, Andrea (2018): Traditions, Festivities and Finales: The Changing Role and Reception of the Downton Abbey Christmas Special. In: Journal of Popular Television. 6 (1), p. 85-103.
2017
Andrews, H. (2017): From unwilling celebrity to authored icon: reading Amy (Kapadia, 2015). In: Celebrity Studies. 8 (2), p. 351-354.
Andrews, Hannah (2017): ‘Imagined Lives, Invented Communities: The Biopic and American National Identity’. In: Adaptation. p. 382-385.
Research output: Contribution to journal › Review article
Andrews, Hannah (2017): Milly Williamson, Celebrity: Capitalism and the Making of Fame Book Review. In: Critical Studies in Television, 12 (4), p. 449-450.
Andrews, H. (2017): Women We Loved: Paradoxes of public and private in the biographical television drama. In: Critical Studies in Television. 12 (1), p. 63-78.
Mills, Brett (2017) Animals on Television: The Cultural Making of the Non-Human, Basingstoke: Palgrave Macmillan.
Mills, Brett with Horton, Erica (2017) Creativity in the British Television Comedy Industry, London: Routledge.
Weissmann, Elke (2017): Watching CSI: a study of British audiences watching Channel 5 and Five USA. In: Critical Studies in Television. 12 (2), p. 174-190
2016
Andrews, H. (2016): BBC Four biopics: Lessons in Trashy Respectability. In: Journal of British Cinema and Television. 13, 3, p. 409-429
Andrews, H. (2016): ‘No-nonsense-two-up-two-down-by-gum-you-daft-ha’poth-Northerness’: Jane Horrocks, Gracie Fields and performing generic Northernness. In: Journal of Popular Television, 4(2): p. 225-238.
Mills, Brett (2016) ‘Make Me Laugh: Creativity in the British Television Comedy Industry’, Humor: International Journal of Humor Research, 29 (2) 157-74.
Mills, Brett (2016) ‘“If This Was a Human…”: Pets, Vets and Medicine on Television’, Critical Studies in Television, 11 (2) 244-56.
Mills, Brett (2016) ‘A Special Freedom’ in Chiara Bucaria and Luca Barra (eds) Taboo Comedy: Television and Controversial Humour, Basingstoke: Palgrave Macmillan, 209-26.
Mills, Brett (2016) ‘“Out There, in the World”: Representations of the Zoo and Other Spaces in the Madagascar Trilogy’ in Michael Lawrence and Karen Lury (eds) The Zoo: Images of Exhibition and Encounter, Basingstoke: Palgrave Macmillan, 137-52.
Mills, Brett (2016) ‘Old Jokes: One Foot in the Grave, Comedy and Age’ in Jürgen Kamm and Birgit Neumann (eds) British Television Comedy: Cultural Concepts and Contexts, London: Routledge, 265-80.
Molloy, C. (2016): Animal Cruelty and Reality Television: A Critical Review. In: Animal Cruelty: A multidisciplinary approach to understanding. Second edition. Brewster, M. P. & Reyes, C. L. (eds.). Carolina Academic Press, p. 379-395
Geraghty, C., Weissmann, E., Jermyn, D., Lad, M., Gorton, K., McCourt, M. & Kies, B.(2016) Women, Soap Opera, and New Generations of Feminists. In: Critical Studies in Television. 11 (3), p. 365-384
Weissmann, E. (2016) Women, Television and Feelings: Theorising Emotional Difference in Gender in SouthLAnd and Mad Men. In: Emotions in Contemporary TV Series. Garcia, A. N. (ed.). Basingstoke, New York: Palgrave Macmillan, p. 87-101
2015
Mills, Brett and Ralph, Sarah (2015) ‘“I Think Women are Possibly Judged More Harshly with Comedy”: Women and British Television Comedy Production’, Critical Studies in Television, 10 (2) 102-17.
Mills, Brett (2015) ‘Towards a Theory of Documentary Representation for Animals’, Screen, 56 (1) 102-7.
Mills, Brett (2015) ‘“Shoved Online”: BBC Three, British Television and the Marginalisation of Young Adult Audiences’ in Einar Thorsen, Heather Savigny, Jenny Alexander and Daniel Jackson (eds) Media, Margins and Popular Culture, Basingstoke: Palgrave Macmillan, 219-31.
Mills, Brett (2015) ‘The Panel Show’ and ‘Natural History Programming’ in Glen Creeber (ed) The Television Genre Book, 3rd edition, London: British Film Institute, 109-11 and 154-5.
Mills, Brett (2015) ‘The Television Sitcom’ in Martin Conboy and John Steel (eds) The Routledge Companion to British Media History, London: Routledge, 451-9.
2014
Andrews, H. (2014): Television and British Cinema: Convergence and Divergence since 1990. London, New York: Palgrave Macmillan.
Andrews, H. (2014): ‘More than a Television Channel’: Channel 4, FilmFour and a failed convergence strategy. In: VIEW: Journal of European Television History & Culture. 3 (6), p. 5-13
Mills, Brett and Ralph, Sarah (2014) ‘“Trying to Ride a Naughty Horse”: British Television Comedy Producers’ in Andrew Spicer, Anthony McKenna and Christopher Meir (eds) Beyond the Bottom Line: The Producer in Film and Television Studies, London: Bloomsbury, 161-74.
Mills, Brett (2014) ‘Sitcoms’ and ‘Sketch Comedy Shows’ in Salvatore Attardo (ed) Encyclopedia of Humor Studies, Thousand Oaks: Sage, 695-8, 698-700.
Pateman, Matthew (2014): Firefly: of formats, franchises and Fox. In Reading Joss Whedon, eds. Rhonda Wilcox, Tanya Cochrane, Cynthea Masson and David Lavery. Syracuse UP, pp. 153 – 168.
Weissmann, E. (2014) Exploring the Wild Wild East: The Transnational Aesthetics of Ripper Street. In: Fernsehen: Europaeische Perspektiven. Festschrift Prof. Dr. Lothar Mikos. Eichner, S. (ed.). Konstanz und Muenchen: UVK, p. 107-120
Weissmann, E. & Thornham, H., (2014), Remaking Public Service for Commercial Consumption: Jamie’s School Dinners Comes to America. In: Remake Television. Reboot, Re-use, Recycle. Lavigne, C. (ed.). Lanham, Maryland, Plymouth: Lexington Books, p. 187-202
Weissmann, E. (2014) Troubled by Violence: Transnational Complexity and the Critique of Masculinity in Ripper Street. In: Upstairs and Downstairs. British Costume Drama Television from The Forsyte Saga to Downton Abbey. Leggott, J. & Taddeo, J. (eds.). Lanham, Bolder, New York, London: Rowman & Littlefield, p. 275-286
Wright, A. (2014): This Wonderful Commercial Machine: Gender, Class, and The Pleasures and Spectacle of Shopping in The Paradise and Mr Selfridge. In: Upstairs and Downstairs: British Costume Drama Television from The Forsyte Saga to Downton Abbey. Leggott, J. & Taddeo, J. A. (eds.). Lanham, Boulder, New York, London: Rowman and Littlefield, p. 235-248