This edited collection examines a new phase in the creation of transnational high-end drama in television’s 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 (SVo D) providers. This book showcases leading examples of transnational TV drama, produced outside the US, yet involving collaboration with US-owned SVo Ds. It foregrounds some new potentials for drama creation in the context of its strategic importance to providers as different as national broadcasters and multinational SVo Ds. This book helps to explain why today’s high-end dramas are demonstrating new elements of cultural specificity despite their common objective to engage a diverse international audience.
Cuprins
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. Dick’s The Man in the High Castle.- Chapter 3. Netflix and Borgen: A Match Made in…?.- Chapter 4. Magnífica 70: HBO’s Portrayal of the Brazilian Boca do Lixo Cinema.- Chapter 5. British History from a Distance: Transnational and Intergenerational Framings of The Crown.- Chapter 6. It’s 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 l’Hoquei/The Hockey Girls: From a Catalan Bachelor’s 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 Netflix’s Unorthodox.- Chapter 12. Polish Culture? World on Fire, Transnational
Coproduction and the Inscription of Cultural Specificity.- Chapter 13. El Robo del Siglo/The Great Heist: Perpetuating False Territorial Dichotomies in Colombia?./
Despre autor
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’.
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