Television drama: form, agency, innovation
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Basingstoke [u.a.]
Palgrave Macmillan
2009
|
| Ausgabe: | 1. publ. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | Includes bibliographical references (p. 243-258) and index |
| Beschreibung: | XI, 278 S. Ill. 23 cm |
| ISBN: | 9780230545519 0230545513 |
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Datensatz im Suchindex
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| adam_text | Contents
List of Illustrations
viii
Acknowledgements
χ
Introduction
1
TV drama and the evolution of television
2
About this book
6
Agency, form and innovation
7
1.
Television Drama: Forms and Contexts
10
Introduction
10
Television scarcity and the emergence of drama
10
Public service and commercialism:
Alternative philosophies of broadcasting
13
TV drama s key forms and genres
17
Commercialism, public service and
institutional agency in TV drama
23
Popular , serious and quality approaches to TV drama
28
Potentials for authorship in TV drama
33
Conclusions
36
2.
Dominant Narrative Forms: The Series and the Serial
38
Introduction
38
From short-form to long-form drama:
The American experience
39
A distinctive narrative aesthetic: Segmentalisation
44
Narrative theory and television
45
Hegemonic forms in TV drama: The series and the serial
50
Resolution and reassurance in the crime drama series
56
Doctor Who: Science fiction narrative from serial to series
61
Conclusions
65
3.
Movements in Style:
Naturalism, Realism and Modernism
67
Introduction
67
The institutionalisatfcm of naturalism
68
vi
Contents
Nats Go Home and the burgeoning of
British TV drama s golden age
71
Towards a new drama
72
A transitional aesthetic: Up the
function and Cathy Come Home
74
Competing realisms
79
Progressive realism: Boys from the Blacbtuff
82
Non-naturalism and Dennis Potter
86
Potter and modernism
88
Modernist TV drama: The Singing Detective
90
Conclusions
94
4.
Serial Melodrama: The Soap Opera
97
Introduction
97
Cultural and commercial impacts of soap opera
98
A brief history of American and British soaps
100
Personal yet public: Some key appeals of soap opera
102
Key gratifications and functions of
the community construct in soaps
105
Primetime groundbreaker: Coronation Street
108
Everyone Has a Little Dirty Laundry :
Soap opera as commercial product
112
Soap aesthetics: Melodrama and
spectacle in Dallas and Dynasty
117
Desperate Housewives as
comedie supersoap
125
Conclusions
129
5.
Narrative Complexity in Post-1980:
Drama Series and Serials
132
Introduction
132
Multi-channel availability, increasing
competition and market fragmentation
133
Falling ratings thresholds for drama and
rising creative autonomy
138
Quality audiences, serial innovations and
yuppie drama
140
Quality TV and the influence of Twin Peaks
144
Key complex strategies: The
f
lexi-narrative
approach and series/serial blend
149
Categorising complex drama series and serials
152
The creative frontiers of complexity in drama
158
Conclusions
161
Contents
vii
6. Tradition and Innovation in Situation
Comedy
164
Introduction
164
The institutional roles of American versus British sitcom
165
Commercial attributes of the sitcom s family constructions
170
Situational and narrative stasis
172
Incorrigible characters and sitcom humour
175
Entrapment
176
The sitcom: An ideologically progressive form?
179
Sitcom s subversive edges: Primetime
animation on American television
182
Single-camera sitcom
188
Comedy
verité
-
BBC s The Office
190
Conclusions
196
7.
Drama and TVIII : Innovations at the High-End
198
Introduction
198
The changing business of television
199
TVIIľ:
A changing political economy for drama
201
American television post-1995:
The impacts of deregulation and conglomeration
203
Some specificities of the British paradigm:
From TVII to TVIII
205
High-end drama and TVIII:
Key characteristics and innovations
211
Must see allure
212
A higher profile for authorship
214
Generic mixing in drama concept design
215
Narrative complexity
217
Enhanced visual quality and style
219
Case study of The Sopranos (HBO,
1999-2007) 222
Conclusions
231
Conclusions
Television scarcity and drama s formative decades
233
Multi-channel competition and the quality turn
237
TVIII: Diversification, globalisation and
drama as first-order commodity
239
Notes 243
References 248
Index
259
Television Drama:Form, Agency, Innovation examines developments in
American and British TV drama from television s broadcast-only era to its
current multi-network, multi-platform age. Rather than attempting a
comprehensive history of American or British TV drama through this
period,Trisha Dunleavy uses iconic or influential programmes within a
variety of genres as vehicles through which to examine broader tendencies
in TV drama s creation, form, style and institutional role. Alongside the
analysis of individual programmes, she considers key institutional
conditions from which TV drama has gained or lost creative opportunities
and as a result of which some programme forms have prevailed over
others. Recognising the dominance of series and serial programming within
all TV drama output, this book profiles the hour-long series, the high-budget
serial, primetime soap opera and situation comedy, as dominant generic
categories whose unusual allure, popularity and endurance have ensured
their continuing centraiity to the understanding of TV drama.
Trisha Dunleavy is Senior Lecturer in Media Studies at the School of
English, Fitm.Theatre and Media Studies at Victoria University of
Wellington, New Zealand. She is the author of Ourselves in Primetime:A
History ofNewZealandTelevision Drama
(2005).
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