The development of cooking on television, and the associated rise in 'celebrity chefs' is often seen as a modern phenomenon involving cooks like Jamie Oliver and Nigella Lawson in Britain. Fanny Cradock (1909Cradock ( -1994 is from time to time credited as a pioneer in television cooking and Britain's 'first celebrity chef'. However little detail of her career has been documented, despite working as a journalist, radio and television presenter, food demonstrator, writer of fiction, children's books and cookbooks spanning from 1942 until 1986. Cradock was prominent on television between 1955 and 1975, with her final appearance in 1985. Cradock is as often remembered for her colourful character as for the colourful food she presented and her name remains synonymous with elaborate cooking in ball gowns, using copious amounts of food colouring and aspic, and for berating her husband who assisted her on stage, on television, and in print. However, from Cradock's personal archive a far more substantive contribution to home cooking through the development of television cooking and cookbooks, looking at her undocumented ideas and innovations. Additional archive materials and collections of newspaper clippings collected between 1942 and 1982 by Cradock herself shed light on how she was perceived at the time, her role as an entrepreneur and her own 'brand' identity. From this documentary evidence, it is argued that Cradock deserves to be much better remembered for her contribution to British food culture. K E Y W O R D SBBC, Bon Viveur, cookery, Cradock, post-war Britain, television
This edited volume is the result of a collaboration between the Peabody Awards, public historians and media scholars (p. vii) and a subsequent conference to present research aimed at highlighting a 'wider and deeper' (ibid.) look at U.S. broadcast history than the well-established discourse based on popular memory of the relationship of television to American society. Divided into three main sections, the collection considers: the Archive itself and what the texts, paratexts and metadata contained within it can tell us; the visibility, or otherwise, in terms of media citizenry and subjectivity; and a comparison of historical presentation of news particularly in a public service context.Together, the collection of individual chapters looks beyond what is found in the Archive to consider how the materials and resources might change our collective understanding of televisions' past, and also how this reflective knowledge may impact on the ways that we all think about present day broadcasting, and into the future as technology, platforms and media consumption continue to evolve. Unusual for a media archive, the Peabody Archive collection is available to research and view online, making wide scholarly research possible. Although in the UK, media archives are generally available via Learning on Screens' Box of Broadcasts, only selected programmes broadcast from the late 1970s and 1980s are available, with a fuller repository available from the 1990s onwards. This can limit the research to this time period. While the Peabody Archive is not a full collection of all that has been broadcast, as a collection of all entries to the Award process, and not just the 'big networks ' (p.30), it has enabled a wider range of scholars to access and contribute to discussion from a wider timeframe.Television History, The Peabody Archive, and Cultural Memory demonstrates what is possible in terms of research knowledge when access is not limited by time, and will be of interest to students of media history generally, with those focusing on 'early' television development being particularly interested in the methodologies of mass archiving, enabling effective searches and analysis, as much as the topics for consideration. As a repository for award submissions, the Archive is rich in materials which otherwise might be referred to as 'diversity' in nature, allowing scholars of depictions of well-trodden media studies themes of race (pp.79-95 and pp.136-153), or sexuality (pp.116-135) to reflect on interrogate a variety of primary sources, and not solely those already curated as 'television history' before reaching challenging and challengeable conclusions. Beyond this, valuable histories of phenomena such as 'fake news' are traceable and well demonstrated in chapter submissions (pp.206-225).This volume includes some of those initial considerations, which no doubt could be, and will be, expanded over time. There is a recognition that the dataset could, and should, be analysed 'from many more vantage points' (p.58). As such, it is not 'complet...
In her most recent book, Ana Tominc puts her strong academic background in social anthropology, cultural studies, and linguistics to good use, as she examines the globalization of celebrity chefs' discourse, particularly how it is represented in post-Socialist countries, such as Slovenia where she grew up.
Cooking on television after WWII mainly addressed ‘the housewife’ audience, while women themselves were presenting television cooking programmes. History has largely forgotten the presenter Joan Robins, who appeared alongside Philip Harben and Marguerite Patten on BBC broadcasts of the late 1940s and 1950s. Robins specialised in ‘common-sense’ cookery, nutrition, and health, including a controversial slimming programme that featured advice that was later disputed by the British Medical Association. Robins’ ideas and innovations were not always welcomed by the BBC, who preferred more straightforward cookery demonstrations, resulting in her turning her back on broadcasting to concentrate on her other careers.
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