DOCSLIB.ORG

Elsa Chan 003258-014 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Elsa Chan 003258-014 1 Elsa Chan 003258-014 Rationale Far from being “dumbed down” and melodramatic, soap operas engage with the most serious issues of our society. My documentary seeks to explore how the parameters or conventions of soap operas enable the writers to explore social themes which engage the primarily female viewer. I will also investigate the possibility that soap operas provoke intellectual debate way beyond the negative stereotypical interpretations of the genre in South Korean soaps like “Jewel in the Palace” and “Thank You” and British soaps “Eastenders” and “Coronation Street”. 1 Elsa Chan 003258-014 Visual Audio Fade in [INT] Woman: [reading out loud] “Adults [medium shot] profile of a are decreasingly distinguishable woman sitting in a chair, from children in their absorption reading a newspaper. in entertainments...” [close up on newspaper] you can see the Washington Post “Reading the newspaper, I suddenly newspaper logo. realized that there are so many [mid shot of the woman as she negative portrayals of soap operas looks up to address the that we women love to watch. camera] Actually, I’ve already made a mistake in generalizing by saying [Close up shot] of the man that women are the viewers, or and his name appears on the have I?” bottom of the screen as “host: Elsa Chan”. As the [The Eastenders theme starts narrator (Elsa) talks, the playing and is suddenly stopped camera zooms out and she with a ‘zip’ sound and the starts walking towards a satirical “2DTV” version of kitchen where a woman wearing Eastenders theme plays. It has the an apron is chopping onions same melody, but there are voices and watching TV. that sing what most people think soap operas embody: Elsa sits down on a chair at Sung:“Grumble, grumble, moan, the dining table next to the moan, moan, wallop, slap it, housewife watching TV. punch, sob, sob, sob, boohoo, oink, shouty, shouty, kiss, grope, snog, gossip, gossip, gasp, and end on a cliff hanger!”] Close up shot of the woman Women: My husband always refuses from the kitchen who turns to to watch soaps with me because he the camera and talks: says they’re so formulaic... a talking head of a different “indulging” woman who turns to the camera and grimaces, saying: a talking head of a different “predictable” woman who turns to the camera and grimaces, saying: a talking head of a different “boring” woman who turns to the camera and grimaces, saying: 2 Elsa Chan 003258-014 Visual Audio [Mid-shot] framing Elsa on Elsa: “So some people think that the chair, and the housewife engagement in soap operas means by the counter. A man enters engagement to the most banal form the shot and goes to the of entertainment, fit only for housewife and hugs her, but housewives. That the series are sees the TV screen and his just romantic fiction portrayed in expression is that of the most prolonged and annoyance. unimaginative fashion. But, in fact, it is worthy of study as theorists study melodrama and try to work out how it’s now evolved to become widely watched around the world in different forms and viewership. Fade in from black: Today we will be looking at the Title Card: “Soap Operas and way we are able to engage with You: A study of British and these supposedly “dumbed down” Korean Soaps. forms of entertainment, and the important issues and themes that A map of the world is shown, they tackle. with Korean and Britain Two major exporters of soap operas circled. are Korea and Britain. Both have very distinct styles and are marketed differently, but have A black screen comes on and tremendous audience followings. I the following words appear: use the term “soap opera” loosely “Soap Opera - shows that air here, as the umbrella term for the in peak viewing hours for shows that air in peak viewing women such as noon and night” times for women such as noon time and night. The way soaps are seen as [Medium shot] of the woman in inherently ‘feminine’ and the kitchen, but the palette important in women’s lives is an is black and white, to issue that has roots that go back imitate old hollywood style. a long time. Because in the 1930s, She is washing dishes, and women would be at home during watching TV while fervently domestic hours cleaning, household nodding in agreement to the cleaning product companies like sentiments expressed on the Proctor and Gamble decided it was TV screen. the prime time to advertise their products on air, so these ‘soap’ companies sponsored the serials. 3 Elsa Chan 003258-014 Visual Audio So it’s no surprise that the settings of soap operas are mostly domestic, as the housewives were then able to engage with the characters. But with the rise of feminism, the changing role of women, and evening time slots with a broadening audience, how have soaps been able to keep up and how were they ever relevant? [Mid-shot]of Elsa getting up That is a question which can only from her chair, walking be answered by an investigation of towards the camera] the conventions of soap operas, how they engage a viewer, and the Black screen with the words: intellectual debate sparked from them. “Coronation street - 1960 First off, we will look at British Eastenders - 1985” soap operas. Unlike their highly glamorized American counterparts which lean towards less realistic portrayals of life, British soaps have a distinct realistic style. Black screen with the words: British cinema is known “Empire Marketing Board Film internationally for its Unit (1927-33), established contribution of the Documentary by John Grierson and Stephen Movement, led by John Grierson in Tallents” the 1930s and 1940s. The movement’s ties in wartime and The General Post Office (GPO) postwar propaganda, and patronage Film Unit (1933-39) until it by state-sponsored bodies led to a became the Crown Film Unit firm influence on the aesthetics (1939-52) under the Ministry and institutions. They were used of Information, with not as mere entertainment, but had responsibilities for wartime a role to play in society - to get and postwar propaganda. public sympathy for the working class and demonstrate that they Excerpt from the beginning of were a vital factor of existence. “Housing Problems” (1935 A. Back then, documentaries were not Elton/E. Anstey) accessible for the working class, many establishing shots and thus the richer, more educated snaking through the slums and people watching them formed a living quarters of the ‘public gaze’ on the working working class. It’s black and class. They were interested in white. There are shots of what was beyond the West End of women bating the dust out of London, and documentarists gave blankets next to their shack them images of extreme poverty and in the slums. dirtiness. 4 Elsa Chan 003258-014 Visual Audio [continued from above] The grim aesthetic used in the Dirty children are standing films continued to change and next to the wall in the develop and by the 1950s, the slums, next to much trash on British New Wave marked an era the ground. that focused on even more gritty social realism. The details and A mid shot of a woman sitting minute rituals from the everyday in a wheelchair, with a baby life of ordinary people, to show on her lap, talking to her how they dealt with the social neighbors who are standing in issues. Long takes were popular in a line far off in the back the films of that time so that the ground. details of the textual space could be observed, so that the audience could see the wider problems the working class dealt with. This move changed the way the working class lives were portrayed by making them appear stronger and not as people to be pitied, like back in the Documentary Movement. [talking head shot of Elsa] Though nowadays the portrayal of the working class is quite different, realism is still a strong underlying theme in British cinema that lends itself even to Black screen with the words: its soap operas. “Realism may be mistaken for The cheap production costs, due to cheapness, but soap operas: not being funded by exporting the - have cheap production costs soaps worldwide unlike Korean - are not funded by export soaps, don’t allow for much - bi-weekly showings special effects or lighting etc. But that’s all justified because of the many times that they show per week, and the strict schedule doesn’t allow for the director and [talking head shot of Elsa] cameramen to construct better shots. The basic shots that are employed Picture of the set of are long-time conventions of soap “Eastenders” showing the operas: the multiple camera setup Queen Vic (the pub) and the is used for quick filming, and multiple cameras in sight. they are mostly unmoving shots Picture of: like the documentary and social -the fictional Walford East realism style. We can also call station, looking rundown this ‘kitchen sink drama’, which -the back of the pub, with explores the socio-political graffiti on the walls issues in the trashier side of life, in pubs and poorer homes. 5 Elsa Chan 003258-014 Visual Audio [talking head] shot of Elsa But another reason that the cameras in soaps don’t move as much, or use fancy editing is because the use of new - and therefore alienating - camera angles don’t show what a character is really seeing in the scene. Aerial shots may be used for establishing the place, but if fast editing were used as well, it’d become very unnatural and the CUT TO: Eastenders scene when audience would not be as Mark appears in the kitchen receptive.
Load more

Recommended publications
  • 25 Years of Eastenders – but Who Is the Best Loved Character? Submitted By: 10 Yetis PR and Marketing Wednesday, 17 February 2010
    25 years of Eastenders – but who is the best loved character? Submitted by: 10 Yetis PR and Marketing Wednesday, 17 February 2010 More than 2,300 members of the public were asked to vote for the Eastenders character they’d most like to share a takeaway with – with Alfie Moon, played by actor Shane Ritchie, topping the list of most loved characters. Janine Butcher is the most hated character from the last 25 years, with three quarters of the public admitting they disliked her. Friday marks the 25th anniversary of popular British soap Eastenders, with a half hour live special episode. To commemorate the occasion, the UK’s leading takeaway website www.Just-Eat.co.uk (http://www.just-eat.co.uk) asked 2,310 members of the public to list the character they’d most like to ‘have a takeaway with’, in the style of the age old ‘who would you invite to a dinner party’ question. When asked the multi-answer question, “Which Eastenders characters from the last 25 years would you most like to share a takeaway meal with?’, Shane Richie’s Alfie Moon, who first appeared in 2002 topped the poll with 42% of votes. The study was entirely hypothetical, and as such included characters which may no longer be alive. Wellard, primarily owned by Robbie Jackson and Gus Smith was introduced to the show in 1994, and ranked as the 5th most popular character to share a takeaway with. 1.Alfie Moon – 42% 2.Kat Slater – 36% 3.Nigel Bates – 34% 4.Grant Mitchell – 33% 5.Wellard the Dog – 30% 6.Peggy Mitchell – 29% 7.Arthur Fowler – 26% 8.Dot Cotton – 25% 9.Ethyl Skinner – 22% 10.Pat Butcher – 20% The poll also asked respondents to list the characters they loved to hate, with Janine Butcher, who has been portrayed by Rebecca Michael, Alexia Demetriou and most recently Charlie Brooks topping the list of the soaps most hated, with nearly three quarters of the public saying listing her as their least favourite character.
    [Show full text]
  • Lesbian Brides: Post-Queer Popular Culture
    Lesbian Brides: Post-Queer Popular Culture Dr Kate McNicholas Smith, Lancaster University Department of Sociology Bowland North Lancaster University Lancaster LA1 4YN [email protected] Professor Imogen Tyler, Lancaster University Department of Sociology Bowland North Lancaster University Lancaster LA1 4YN [email protected] Abstract The last decade has witnessed a proliferation of lesbian representations in European and North American popular culture, particularly within television drama and broader celebrity culture. The abundance of ‘positive’ and ‘ordinary’ representations of lesbians is widely celebrated as signifying progress in queer struggles for social equality. Yet, as this article details, the terms of the visibility extended to lesbians within popular culture often affirms ideals of hetero-patriarchal, white femininity. Focusing on the visual and narrative registers within which lesbian romances are mediated within television drama, this article examines the emergence of what we describe as ‘the lesbian normal’. Tracking the ways in which the lesbian normal is anchored in a longer history of “the normal gay” (Warner 2000), it argues that the lesbian normal is indicative of the emergence of a broader post-feminist and post-queer popular culture, in which feminist and queer struggles are imagined as completed and belonging to the past. Post-queer popular culture is depoliticising in its effects, diminishing the critical potential of feminist and queer politics, and silencing the actually existing conditions of inequality, prejudice and stigma that continue to shape lesbian lives. Keywords: Lesbian, Television, Queer, Post-feminist, Romance, Soap-Opera Lesbian Brides: Post-Queer Popular Culture Increasingly…. to have dignity gay people must be seen as normal (Michael Warner 2000, 52) I don't support gay marriage despite being a Conservative.
    [Show full text]
  • In Spite of History? New Leftism in Britain 1956 - 1979
    In Spite of History? New Leftism in Britain 1956 - 1979 Thomas Marriott Dowling Thesis Presented for the Degree of PhD Department of History University of Sheffield August 2015 ii iii Contents Title page p. i Contents p. iii Abstract p. vi Introduction p. 1 On the Trail of the New Left p. 5 Rethinking New Leftism p. 12 Methodology and Structure p. 18 Chapter One Left Over? The Lost World of British New Leftism p. 24 ‘A Mood rather than a Movement’ p. 30 A Permanent Aspiration p. 33 The Antinomies of British New Leftism p. 36 Between Aspiration and Actuality p. 39 The Aetiology of British New Leftism p. 41 Being Communist p. 44 Reasoning Rebellion p. 51 Universities and Left Review p. 55 Forging a Movement p. 58 CND p. 63 Conclusion p. 67 iv Chapter Two Sound and Fury? New Leftism and the British ‘Cultural Revolt’ of the 1950s p. 69 British New Leftism’s ‘Moment of Culture’? p. 76 Principles behind New Leftism’s Cultural Turn p. 78 A British Cultural Revolt? p. 87 A New Left Culture? p. 91 Signifying Nothing? p. 96 Conclusion p. 99 Chapter Three Laureate of New Leftism? Dennis Potter’s ‘Sense of Vocation’ p. 102 A New Left ‘Mood’ p. 108 The Glittering Coffin p. 113 A New Left Politician p. 116 The Uses of Television p. 119 History and Sovereignty p. 127 Common Culture and ‘Occupying Powers’ p. 129 Conclusion p. 133 Chapter Four Imagined Revolutionaries? The Politics and Postures of 1968 p. 135 A Break in the New Left? p.
    [Show full text]
  • Illuminations Designs 1990-1999 [6.50MB]
    BLACKPOOL ILLUMINATIONS COLLECTION The Blackpool Illuminations Collection is a collection of original artwork designed for the famous Illuminations since 1925. The collection is held at the Lightworks in Blackpool - for details or further information please contact the Local and Family History Centre at Blackpool Central Library on 01253 478090 or email [email protected] The entries on the catalogue include year of design and name of designer where known. The list distinguishes where possible between "road sections" (features placed along the Promenade) and "tableaux" (situated mostly on the cliffs at North Shore). Not all of the designs shown here were actually manufactured and used in the Illuminations. Not all of the features created and used in the Illuminations have surviving artwork. Use your browser to search for key subject words that are relevant to your interests. Compiled by Carol Chapman, 2014. Assisted in conservation and sorting by Lightworks volunteer Owen Newman. FEATURES 1990-1999. For panoramic views of some of these features see separate list. Egyptian scene 1990 Graham C9D5L1 tableau Ogden sand dancer sketch Egyptian scene 1990 Graham C9D5L2 tableau Ogden sand dancer copy sketch Egyptian scene 1990 Graham C9D5M2 tableau Ogden Egyptian dancers sketch no. 63 Egyptian scene 1990 Graham C9D5L3 tableau Ogden sand dancer in silhouette Egyptian scene 1990 Graham C9D5L4 tableau Ogden sand dancer in silhouette Egyptian scene 1990 Graham C9D5L5 tableau Ogden Egyptian mummy copy sketch Egyptian scene 1990 Graham
    [Show full text]
  • Thesis Final Draft.Pages
    CORE Metadata, citation and similar papers at core.ac.uk Provided by Glasgow Theses Service Bell, Stuart (2016) "Don't Stop": Re-Thinking the Function of Endings in Narrative Television. PhD thesis http://theses.gla.ac.uk/7282/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] “Don’t Stop…” Re-thinking the Function of Endings in Narrative Television Stuart Bell (MA, MLitt) Submitted in fulfilment for the requirements for the degree of Doctor Of Philosophy School of Culture and Creative Arts College of Arts University of Glasgow November 2015 (c) Stuart Bell, November 2015 !1 Abstract “Don’t Stop…” Re-thinking the Function of Endings in Television This thesis argues that the study of narrative television has been limited by an adherence to accepted and commonplace conceptions of endings as derived from literary theory, particularly a preoccupation with the terminus of the text as the ultimate site of cohesion, structure, and meaning. Such common conceptions of endings, this thesis argues, are largely incompatible with the realities of television’s production and reception, and as a result the study of endings in television needs to be re-thought to pay attention to the specificities of the medium.
    [Show full text]
  • Wendy Richard
    Soap stars gather for emotional farewell to Wendy Richard Screen legend Wendy Richard Stars from some of Britain’s best-loved soaps gathered together on 9th March 2009 to pay their respects to screen legend Wendy Richard. Lacey Turner, Pam St Clement, Letitia Dean, June Brown and Todd Carty Albert Square was brought to a virtual standstill as more than 100 EastEnders stars gathered for the funeral of the 65-year-old, who became a household name for her portrayal as cardigan- wearing matriarch Pauline Fowler. Famed characters from the East End soap both past and present included Anna Wing who starred as Lou Beale; Letitia Dean who played Sharon Mitchell; Barbara Windsor who plays Peggy; Ian Beale actor Adam Woodyatt and Dot Branning's June Brown. On arriving at the church with Ricky Groves (Gary Hobbs) and June Brown, Letitia told reporters: “Wendy is going to love this.” Groves added: “We’ll have a drink for her.” Wendy's on-screen son Todd Carty - who played Mark Fowler - led tributes to the actress along with Are You Being Served's Frank Thornton and Leonard Fenton, who starred as Dr Harold Legg. Carty looked to be on the brink of tears as he arrived at the church, flanked by Cindy Beale actress Michelle Collins, Steve McFadden who plays Mitchell hardman Phil, Pam St. Clement (Pat), Lacey Turner (Stacey) and Kara Tointon, who stars as Dawn. More than 1,000 mourners crammed into a star-studded central London service for Wendy, who also played Miss Brahms in the hit sitcom Are You Being Served? and fans of the star lined the streets outside St Marylebone Parish Church.
    [Show full text]
  • The Cultural Value of Shakespeare in Twenty-First-Century Publicly-Funded Theatre in England
    THE CULTURAL VALUE OF SHAKESPEARE IN TWENTY-FIRST-CENTURY PUBLICLY-FUNDED THEATRE IN ENGLAND by EMILY CAROLINE LOUISE LINNEMANN A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY The Shakespeare Institute College of Arts and Law The University of Birmingham September 2010 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis argues that in the plural cultural context of the twenty-first century the value of Shakespeare resides in his identity as a free and flexible resource. This adaptable Shakespeare is valuable to theatres because they are dialectical spaces. Free-resource Shakespeare is able to contain a range of different cultural values and theatres provide a space for producers and consumers of culture to negotiate between them. It has been established that tensions of cultural value, for example innovation/tradition or commercial/non-commercial govern the production, dissemination and critique of culture. Building on this idea, this work shows that when tensions are dealt with as negotiations rather than confrontations, new cultural value is generated. It identifies Shakespeare as a site for the debate of value tensions and contends that he can be simultaneously commercial and non-commercial, traditional and innovative.
    [Show full text]
  • Television Studies the Basics
    TELEVISION STUDIES THE BASICS Television Studies: The Basics provides a thorough overview of central debates in the field of television studies, and draws from a range of examples across the world. Elana Levine, University of Wisconsin- Milwaukee, USA Miller has pulled off the trick of writing something for both the student and the connoisseur, for combining an informed review of the field with bursts of genuine originality. In the termin­ ology of his subject, this is a must­ read TV guide. Justin Lewis, University of Cardiff, UK Television Studies: The Basics is a lively introduction to the study of a powerful medium. It examines the major theories and debates sur­ rounding production and reception over the years and considers both the role and future of television. Topics covered include: • broadcasting history and technology • institutions and ownership genre and content • • audiences. Complete with global case studies, questions for discussion, and suggestions for further reading, this is an invaluable and engaging resource for those interested in how to study television. Toby Miller is Professor of Media & Cultural Studies at the Uni­ versity of California, Riverside. The Basics ANTHROPOLOGY LANGUAGE (SECOND EDITION) PETER METCALF R.L. TRASK ARCHAEOLOGY (SECOND EDITION) LITERARY THEORY (SECOND EDITION) CLIVE GAMBLE HANS BERTENS ART HISTORY MANAGEMENT GRANT POOKE AND DIANA NEWALL MORGEN WITZEL THE BIBLE MARKETING JOHN BARTON KARL MOORE AND NIKETH PAREEK BLUES OPERA DICK WEISSMAN DENISE GALLO BUDDHISM PHILOSOPHY (FOURTH EDITION) CATHY
    [Show full text]
  • Henderson, Lesley M. (2002) Social Issue Story Lines in British Soap Opera
    Henderson, Lesley M. (2002) Social issue story lines in British soap opera. PhD thesis http://theses.gla.ac.uk/6541/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] SOCIAL ISSUE STORY LINES IN BRITISH SOAP OPERA Lesley M. Henderson A thesis submitted for the degree of Doctor of Philosophy . University of Glasgow Department of Sociology & Anthropology May 2002 2 Abstract This thesis examines the factors which influenced how social issue story lines were developed in the areas of sexual violence, breast cancer and mental distress in British soap opera in the mid to late 1990's. The soap opera production process was examined by conducting interviews with members of production teams from different programmes. This core study was contextualised by additional interviews with production personnel working in other areas of television (e.g. documentary). Spokespeople from different organisations who consulted on story lines or lobbied around different issues were also interviewed. In total, 64 interviews were conducted. The influence of soap story lines on public understandings of an issue was explored in an audience reception study of sexual violence in Brookside (12 focus groups).
    [Show full text]
  • Quiz Pack Thank You for Purchasing Your Quiz Pack from Instant Quizzes
    Quiz Pack Thank you for purchasing your Quiz Pack from Instant Quizzes Ltd. Please ensure that your PC is connected to your printer – Print all pages. You now have your quiz ready along with a pub quiz poster to advertise it. Now estimate the number of teams you will have and click File/Print – print page 8 and change the number of copies to the number of teams you will have. You now have one interval round per team. Again click File/Print – then print page 10 and change the number of copies to the number of teams you will have. You now have one answer sheet per team. Should you require additional copies of your pub quiz poster, please print out additional copies of page 11. Page 2 is your scoresheet, enter the names of the teams in the appropriate box and as the quiz progresses, enter the teams’ scores for each round in the appropriate box and announce running totals to the teams after each. Rounds 1-5 are trivia rounds – we suggest you read out each question in turn, then after a short break, quickly recap on them all before marking the answers and reading out question+answer The interval round can be handed out and completed at any time at your convenience. We suggest that you hand it out at the start of the quiz to teams, giving them something to do between rounds, then have an interval where you can hold your raffle etc. and allow teams to recharge their glasses whilst collecting them in.
    [Show full text]
  • Tv Medical Dramas: Health Care As Soap Opera
    TV MEDICAL DRAMAS: HEALTH CARE AS SOAP OPERA LESLEY HENDERSON ‘Medicine is drama, doctors are human, and patients are trouble or troubled’.1 he medical drama occupies an extraordinary position in contemporary Ttelevision. The format attracts multiple awards (ER became the most nominated series in TV history, earning 122 Emmy nominations and 22 Awards) and breaks new ground in television aesthetics (St Elsewhere popularised pedeconferencing – the ‘walk and talk’ tracking shot to signify the supposedly frenetic pace of hospital life). The genre is economically important, too, as medical dramas consistently attract large audiences with ‘gold dust’ demographics for advertisers – the notoriously elusive 18-49 years. These programmes deliver high drama but also convey important messages about health and illness, often highlighting political issues which are neglected in television news and documentary formats. Thus the humanitarian crisis in the Darfur region of Sudan – underreported by the US news media – was brought to ER viewers through characters Dr John Carter and Dr Gregory Pratt, who were depicted working in a refugee camp trying to protect their patients from the Janjaweed militia (series 12, 2006). As these fictional scenes were being transmitted to global audiences, George Clooney – formerly ER’s Dr Doug Ross – spoke out at public rallies to stimulate support for American intervention in Darfur, thus blurring the lines between drama and the material world still further.2 Shows such as House MD are dissected in meticulous detail by fans and medical professionals on websites filled with endless analysis of the plausibility of plot and procedure.3 The medical drama is a commercial product that not only reflects our socio-cultural and economic environment but also illuminates wider changes in broadcasting culture.
    [Show full text]
  • INVESTIGATING the STYLE, FORM and GENRE of PERIOD DRAMA in 2010S BRITISH TELEVISION
    A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy December 2020 HERITAGE AND POST-HERITAGE: INVESTIGATING THE STYLE, FORM AND GENRE OF PERIOD DRAMA IN 2010s BRITISH TELEVISION WILL STANFORD This image is unavailable. Please consult reference on page ii for further information. ABBISS ii ABSTRACT This project analyses six period drama productions in British television of the 2010s, expanding Claire Monk’s term of ‘post-heritage’ into a critical framework. Its case studies establish a cycle of progressive representations of the past in recent television drama, which operate against the assumptions of ‘heritage’ nostalgia forwarded by earlier scholars. The post-heritage framework consists of five guiding elements: interrogation, subversion, subjectivity, self-consciousness and ambiguity. These inform the analysis of the project’s case studies, while also allowing the existence of post-heritage elements to be recognised in earlier period drama productions. The thesis is split into three distinct parts, which allow the heritage and post-heritage elements of the case studies to be associated with the characteristics and theoretical concepts of television drama. The first chapter of each part evaluates the institutional context of its case study, identifying its impact upon production through textual examples from the programme. The second chapter of each part focuses on close analysis, demonstrating the extent to which post- heritage elements can assist innovation in television drama. Part I focuses on televisual style, identifying the naturalist, realist and modernist aesthetics of television drama. Scholarly sources are used to connect these with periods of British television history.
    [Show full text]