By Richard Porter
"I was once most sensible Gear's script editor for thirteen years and all 22 sequence. I essentially used to examine spelling and examine silly gags concerning the Stig. I additionally obtained to hang out with Jeremy Clarkson, Richard Hammond and James could. It didn't think like whatever you might want to receives a commission for.
From the disastrous pilot express of 2002 to the surprising and unforeseen finishing in 2015, engaged on most sensible apparatus used to be rather a rollercoaster experience. We crossed continents, we made area ships, we bobbed around the world's busiest transport lane in a pick-up truck. We additionally bought chased by way of an indignant mob, again and again sparked fury in newspapers, and nearly killed one in every of our presenters.
I realised that I had a number of tales to inform from backstage at the convey. I remembered whose daft proposal it was once to get a puppy. I recalled the willfully silly method within which we adorned our terrible place of work. I had a unexpected flashback to the time a Bolivian drug lord threatened to kill us.
I determined I may still write down a few of these tales. So i've got. i am hoping you love them."
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Extra resources for And On That Bombshell: Inside the Madness and Genius of Top Gear
1. Media Culture and the Triumph of the Spectacle 35 References ________________ (2002) ‘Theorizing Globalization,’ Sociological Theory, Vol. 20, Nr. 3 (November): 285-305. _______________ (2003a) Media Spectacle. London and New York: Routledge. _______________ (2003b) From September 11 to Terror War: The Dangers of the Bush Legacy. : Rowman and Littlefield. Marcuse, Herbert (1964) One-Dimensional Man. Boston: Beacon Press. Ritzer, George (1993; revised edition 1996) The McDonaldization of Society.
44 The Spectacle of the Real Advanced capitalist society at the dawn of the new millennium is less about truth versus fiction, or authenticity versus simulation. It is instead about a quest for real life that requires surveillance for its-for our-verification. (Pecora 2002: 348) Pecora’s suggestion that surveillance functions as both a ‘quest for real life’ and a ‘sublime object’ seems to come close to describing the qualitative difference between the discursive field of the virtual and that of the live.
Here I refer to Paramount’s documentary, 9/11 (2001), which is largely shaped around footage shot by an independent French camera crew that followed a New York fire brigade into the eye of the storm on the day that the attack on the twin towers took place. Though many of us saw 9/11 live on television, we can now watch it again, through the eyes of a fireman, just as we watch the conflict in Iraq through the eyes of an American or British solider. The power of embedded media, Crandall argues, lies in its ability to return to the viewer what is purportedly taken away with spectacle – to situate the viewer, as it were ‘on the other side of the shield, dropped on to the battlefield of the Real’ (Crandall: 7).