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El. knyga: TV Transformations & Transgressive Women: From Prisoner: Cell Block H to Wentworth

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"'Just like Prisoner and Wentworth, this book is an instant cult classic. Written with love by a collective of expert aca-fans, TV Deep dive into iconic 1980s Australian women-in-prison TV drama Prisoner (aka Cell Block H), its contemporary reimagining as Wentworth, and its broader, global industry significance and influence, this book brings together a range of scholarly and industry perspectives, including an interview with actor Shareena Clanton (Wentworth's Doreen Anderson). Its chapters draw on talks with producers, screenwriters and casting; fan voices from the Wentworth twitterverse; comparisons with Netflix's Orange is the New Black; queer and LGBTQ approaches; and international production histories and contexts. By charting a path from Prisonerto Wentworth, the book offers a new mapping of TV shifts and transformations through the lens of female transgression, ruminating on the history, currency, industry position and cultural value of women-in-prison series"--

«Just like Prisoner and Wentworth, this book is an instant cult classic. Written with love by a collective of expert aca-fans, TV Transformations & Transgressive Women takes us on a fascinating journey through the cultural legacies of Australia’s favourite prison TV dramas. Contributors use a rich palette of methods, from genre analysis to production research, to unpack the significance of these shows. An exemplary textual study, this richly multi-perspectival collection is essential reading for anyone interested in television genres.» (Ramon Lobato, Associate Professor, RMIT University)

«This collection is a wonderful example of how certain TV shows can have tremendous impact, not only in the time of their making, but for several decades, when suddenly there’s the opportunity to travel even further in an on-demand age and meet new audiences, academics and analytical approaches. The chapters offer a wide range of interesting interpretations and discussions, not the least on the way women have been represented on screen then and now. A good read for academics, fans and aca-fans.» (Eva Novrup Redvall, Associate Professor, University of Copenhagen)

A deep dive into iconic 1980s Australian women-in-prison TV drama Prisoner (aka Cell Block H), its contemporary reimagining as Wentworth, and its broader, global industry significance and influence, this book brings together a range of scholarly and industry perspectives, including an interview with actor Shareena Clanton (Wentworth’s Doreen Anderson). Its chapters draw on talks with producers, screenwriters and casting; fan voices from the Wentworth twitterverse; comparisons with Netflix’s Orange is the New Black; queer and LGBTQ approaches; and international production histories and contexts. By charting a path from Prisoner to Wentworth, the book offers a new mapping of TV shifts and transformations through the lens of female transgression, ruminating on the history, currency, industry position and cultural value of women-in-prison series.



This book explores Australian TV dramas about women in prison, offering a range of scholarly and industry perspectives. Including an interview with a Wentworth star, and comparisons with Netflix’s Orange is the New Black, this volume offers a new mapping of TV shifts and transformations through the lens of female transgression.

Contents: Radha OMeara, Tessa Dwyer, Stayci Taylor and Craig Batty:
Breakout Women: Introduction to TV Transformations, Gender and Transgression
On the Inside: Voices from Industry Interview with Shareena Clanton:
Representation, Responsibility and Racism: A Courageous Conversation with
Shareena Clanton Tessa Dwyer and Philippa Burne: Repeat Offender: TV
Remakes, Reboots and Revival from Prisoner to Wentworth and beyond Radha
OMeara: Scriptwriting on the Inside: The Streamlined System of Prisoner and
the Collaborative Community of Wentworth Helen Milte: «I Want to See Rit
Connors. I Want to See Her Now!»: The TV Series Guest Performer as
Intertextual Messenger Shes Got Form: Narrative, Genre and Motif Kim Yen
Howells-Ng: Women in the System: Narrative Modes and Rhetoric in Wentworth
and Orange is the New Black Niall Brennan: Flashbacks and Morality in
Womens Prison TV Drama Kate Warner: Gothic Themes in Australian TVs
Womens Prison Dramas Corrine E. Hinton and Cathrine Hoekstra: «You Want to
See Your Daughter? You Tell Me What Happened»: Motherhood and the Market
Economy in Wentworth Tough Love: Punishment, Power and Identity Jessica
Ford: Orange is the New Black, Wentworth and Contemporary Media Feminisms:
Systemic Inequality and Individual Responsibility Josie Rose Atkinson:
Prison Blues and Token Truths: Inside the Reality and Fantasy of First
Nations Representations in Australian Womens Prison Drama Wentworth
Whitney Monaghan: Doing (Queer) Time in Wentworth Sam McCracken: «And Then
They Confiscate Her Hormones»: Trans Incarceration and/ in Wentworth and
Orange is the New Black Diana Sandars: The Motherless Teenage Daughter:
Lock Her Up or Send Her Away Alex Bevan: The Stone- Cold Power Dame: TV
Women in Power, State Security and National Discourse On the Outside:
Fandom, Activism and Afterlives Olympia Barron, Catherine Gillam and
Alexander Gionfriddo: Telling It Like It Was: Independent Activist
Filmmaking, Australian Prison Systems and Prisoner Craig Haslop and Craig
Batty: From Boys to Men via Cell Block H: Prisoner, Queer Identities and
Productive Fan Nostalgia Amanda K. Allen: «Its Not My Fault I Help Girls
Realize Theyre Lesbians»: Compulsory Homosexuality as Communication in
Online Wentworth Fandom Renee Middlemost and Stayci Taylor: Competing
Desires, Competing Interests: Opening the Dialogue between Wentworth, Fans
and Industry Alexa Scarlata: Recommending Wentworth to the World: How
Netflix «Changed the Show» and Australian TV Drama Production.
The editors of this volume are screen studies and screenwriting scholars with specialist skills in a range of areas and practices, including script development, gender studies and television studies. Radha OMeara is Lecturer in Screenwriting at the University of Melbourne. Her critical research concentrates on serial storytelling and industrial authorship in contemporary film and television. Tessa Dwyer is Lecturer in Film and Screen Studies, Monash University. Her research focuses on screen media and language difference, and she has published the monograph Speaking in Subtitles (2017). Stayci Taylor is Senior Lecturer, Master of Media, RMIT University. Her research focuses on screenwriting practice, and she has co-edited two books on script development. Craig Batty is Professor and Dean of Research (Creative) at the University of South Australia. He has published fifteen books and many articles on screenwriting and creative practice research.
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