This edited collection examines a new phase in the creation of transnational high-end drama in televisions current multiplatform era. Fuelled by the wider international exposure that internet distribution has brought to TV shows, this phase for high-end drama is one of unprecedented budgets and costs, frequent transnational coproduction and increased cultural diversification. While this drama continues to be facilitated by national broadcasters, fuelling the above trio of influences upon it has been the commissioning activity of multinational subscription-video-on-demand (SVoD) providers. This book showcases leading examples of transnational TV drama, produced outside the US, yet involving collaboration with US-owned SVoDs. It foregrounds some new potentials for drama creation in the context of its strategic importance to providers as different as national broadcasters and multinational SVoDs. This book helps to explain why todays high-end dramas are demonstrating new elements of cultural specificity despite their common objective to engage a diverse international audience.
Recenzijos
The editors present a very well organised volume, including a rewarding number of heavily-researched chapters on shows from a diverse range of countries TV Drama in the Multiplatform Era a useful primer for studying the effects of transnationalism in recent drama. This book is accessible to students but will also be valuable to researchers in the field of co-productions and streaming providers. (Max Sexton, Critical Studies in Television, October 16, 2024)
Chapter
1. Multiplatform TV, the Cultural Diversification of High-End
Drama, and New Coproduction Strategies.
Chapter
2. Moving across Platforms
and Cultures: From BBC to Syfy to Amazon Prime: The Adaptation of Philip K.
Dicks The Man in the High Castle.
Chapter
3. Netflix and Borgen: A Match
Made in?.
Chapter
4. Magnķfica 70: HBOs Portrayal of the Brazilian Boca do
Lixo Cinema.
Chapter
5. British History from a Distance: Transnational and
Intergenerational Framings of The Crown.
Chapter
6. Its a Sin:
Cross-Platform Coproduction, Cultural Specificity, and Conflicting Cultures.-
Chapter
7. Unseen Particles in Time: Co-producing Transcultural Memory as a
Discourse of TV Legitimacy Within the Sky/HBO Miniseries TV Event, Chernobyl
(2019).
Chapter
8. Les de lHoquei/The Hockey Girls: From a
Catalan Bachelors Degree Project to Netflix.
Chapter
9. Gender and the
Youthification of German Television: Zeit der Geheimnisse/Holiday Secrets and
Generational Change in High-End TV Drama.
Chapter
10. Atiye/The Gift:
Narrating Cultural Diversities as Spiritual Fantasy in an Authoritarian
Climate.
Chapter
11. Freedom of Defection: The Representation of
Ultra-Orthodox Jews and Netflixs Unorthodox.
Chapter
12. Polish Culture?
World on Fire, TransnationalCoproduction and the Inscription of Cultural
Specificity.
Chapter
13. El Robo del Siglo/The Great Heist: Perpetuating
False Territorial Dichotomies in Colombia?./
Trisha Dunleavy is Associate Professor of Media and Communication at Te Herenga Waka/Victoria University of Wellington, New Zealand. Her books include Ourselves in Primetime: A History of New Zealand Television Drama (2005), Television Drama: Form, Agency, Innovation (2009), and Complex Serial Drama and Multiplatform Television (2018). Elke Weissmann is Reader in Television and Film at Edge Hill University, Ormskirk, UK. She is the author of Transnational Television Drama (2012). She is ECREA editor for Critical Studies in Television and currently working on the British Academy-funded project Transnational Television Drama in the Multiplatform Age.
Daugiau apie elektronines knygas