Best known as co-writer of Channel 4 sitcom Father Ted (1995‐98), Irish writer Arthur Mathews is among the most versatile in recent British and Irish television comedy. Mathews’s other British work includes sketch show Big Train (1998‐2002), Toast of London (2013‐15) and Toast of Tinseltown (2022‐present), while his work for Irish television includes the sitcom Val Falvey TD (2009). Drawing on interviews with Mathews concerning his formation and development as a writer, this article situates his distinctive comic sensibility within Ireland’s changing social and cultural landscape from the 1960s to the 1980s and the east coast of Ireland’s unusual ‘mediascape’ as a confluence of Irish, British and American currents. Mathews’s career and work illustrate how comic sensibility, national and regional identities intersect in the ‘British Isles’ as a geo-cultural archipelago rather than a collection of distinctive national identities. The article examines how he relates his acutely surreal humour and love of generic and stylistic incongruity to his formative experiences of watching and absorbing British television from a vantage point both ‘outside’, in a different national jurisdiction, and culturally on its margins. Finally, it gauges the limits of Mathews’s work in offering forms of cultural and social critique through comedy.
{"title":"Getting up to mischief: Comic sensibility, generational and national identity in Arthur Mathews’s comedy writing","authors":"M. Free","doi":"10.1386/jptv_00069_1","DOIUrl":"https://doi.org/10.1386/jptv_00069_1","url":null,"abstract":"Best known as co-writer of Channel 4 sitcom Father Ted (1995‐98), Irish writer Arthur Mathews is among the most versatile in recent British and Irish television comedy. Mathews’s other British work includes sketch show Big Train (1998‐2002), Toast\u0000 of London (2013‐15) and Toast of Tinseltown (2022‐present), while his work for Irish television includes the sitcom Val Falvey TD (2009). Drawing on interviews with Mathews concerning his formation and development as a writer, this article situates his distinctive\u0000 comic sensibility within Ireland’s changing social and cultural landscape from the 1960s to the 1980s and the east coast of Ireland’s unusual ‘mediascape’ as a confluence of Irish, British and American currents. Mathews’s career and work illustrate how comic sensibility,\u0000 national and regional identities intersect in the ‘British Isles’ as a geo-cultural archipelago rather than a collection of distinctive national identities. The article examines how he relates his acutely surreal humour and love of generic and stylistic incongruity to his formative\u0000 experiences of watching and absorbing British television from a vantage point both ‘outside’, in a different national jurisdiction, and culturally on its margins. Finally, it gauges the limits of Mathews’s work in offering forms of cultural and social critique through comedy.","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66733926","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the construction of the uncanny place in reality paranormal television. Two introductory sequences from the British programme Most Haunted (2002‐present) are analysed that investigate ‘ordinary homes’ to consider the way that place is framed. Using textual analysis, the content of these sequences, including visual, auditory and discursive signifiers, is considered to identify themes where the inversion of the ordinary and the de-stabilizing of homeliness emerged. The use of binary oppositions and representations of liminality are identified as frequent tropes in the production of reality paranormal television. It is argued that these elements frame places as potentially uncanny and invite the viewers to participate in the paranormal possibility of the home. The uncanny, it is concluded, forms an integral part of the narratives that construct reality paranormal programmes and their success at sustaining an engaged and exploratory audience.
{"title":"The uncanny place: A critical appraisal of popular paranormal TV shows","authors":"Fiona Smith, R. Ironside","doi":"10.1386/jptv_00072_1","DOIUrl":"https://doi.org/10.1386/jptv_00072_1","url":null,"abstract":"This article examines the construction of the uncanny place in reality paranormal television. Two introductory sequences from the British programme Most Haunted (2002‐present) are analysed that investigate ‘ordinary homes’ to consider the way that place is\u0000 framed. Using textual analysis, the content of these sequences, including visual, auditory and discursive signifiers, is considered to identify themes where the inversion of the ordinary and the de-stabilizing of homeliness emerged. The use of binary oppositions and representations of liminality\u0000 are identified as frequent tropes in the production of reality paranormal television. It is argued that these elements frame places as potentially uncanny and invite the viewers to participate in the paranormal possibility of the home. The uncanny, it is concluded, forms an integral part of\u0000 the narratives that construct reality paranormal programmes and their success at sustaining an engaged and exploratory audience.","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42594955","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores middlebrow culture on early 1980s television and the narrative structures and visual politics employed. The focus lies on Remington Steele (1983‐87) and Magnum, P.I. (1980‐88) as two middlebrow TV series that emphasize the male lead and link in with shifts in the visual culture of the era. Both series function within frameworks of middlebrow TV and visually focus on their male heroes’ bodies. The article analyses the term middlebrow in 1980s television and develops this concept more by exploring narrative structure and what Horace Newcomb has termed the ‘cumulative narrative’. The article then moves on to discuss the visual framing of the male lead as directed by an assumed heterosexual female gaze. In the course of this, it examines the parameters of the televisual image and the conditions that frame objectification on television. Due to the focus on a heterosexual female gaze, middlebrow television becomes strongly linked with women’s culture. This allows for conclusions surrounding the construction of the middlebrow, masculinity and early 1980s television culture. Exploring this cultural politics, and thus revealing a cultural hierarchy, is deemed important here, as it allows for an analysis of the role of nostalgia, both in 1980s and more contemporary television cultures going forward.
{"title":"Looking at men: 1980s middlebrow TV and visual culture","authors":"M. Jenner","doi":"10.1386/jptv_00070_1","DOIUrl":"https://doi.org/10.1386/jptv_00070_1","url":null,"abstract":"This article explores middlebrow culture on early 1980s television and the narrative structures and visual politics employed. The focus lies on Remington Steele (1983‐87) and Magnum, P.I. (1980‐88) as two middlebrow TV series that emphasize the male lead\u0000 and link in with shifts in the visual culture of the era. Both series function within frameworks of middlebrow TV and visually focus on their male heroes’ bodies. The article analyses the term middlebrow in 1980s television and develops this concept more by exploring narrative structure\u0000 and what Horace Newcomb has termed the ‘cumulative narrative’. The article then moves on to discuss the visual framing of the male lead as directed by an assumed heterosexual female gaze. In the course of this, it examines the parameters of the televisual image and the conditions\u0000 that frame objectification on television. Due to the focus on a heterosexual female gaze, middlebrow television becomes strongly linked with women’s culture. This allows for conclusions surrounding the construction of the middlebrow, masculinity and early 1980s television culture. Exploring\u0000 this cultural politics, and thus revealing a cultural hierarchy, is deemed important here, as it allows for an analysis of the role of nostalgia, both in 1980s and more contemporary television cultures going forward.","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45607427","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article assesses the narrative developments of the Showtime series The Affair (2014‐19) alongside the production circumstances reported in the media following its conclusion. Through this, it is argued that actor Ruth Wilson’s objections to the direction of her character positively impacted the series, freeing it from the restrictions of its concept and resulting in a more culturally relevant conclusion than could otherwise have been achieved. Sarah Treem’s position as showrunner, and the accusations levelled at her by the reports around Wilson’s departure, are also investigated, asserting the importance of recognizing the other figures that hold responsibility for a multi-season drama’s production environment. Wilson’s influence on the trajectory of the series is used to argue against auteur theory, the assumptions of which are identified as attributing sole blame for Wilson’s objections to Treem. As it remains unusual for the position of drama showrunner to be held by a woman, the potential harm of such auteurist assumptions is made clear by the example of The Affair.
{"title":"‘Change the narrative’: The Affair, conceptual evolution and television authorship","authors":"W. Abbiss","doi":"10.1386/jptv_00067_1","DOIUrl":"https://doi.org/10.1386/jptv_00067_1","url":null,"abstract":"This article assesses the narrative developments of the Showtime series The Affair (2014‐19) alongside the production circumstances reported in the media following its conclusion. Through this, it is argued that actor Ruth Wilson’s objections to the direction of\u0000 her character positively impacted the series, freeing it from the restrictions of its concept and resulting in a more culturally relevant conclusion than could otherwise have been achieved. Sarah Treem’s position as showrunner, and the accusations levelled at her by the reports around\u0000 Wilson’s departure, are also investigated, asserting the importance of recognizing the other figures that hold responsibility for a multi-season drama’s production environment. Wilson’s influence on the trajectory of the series is used to argue against auteur theory, the\u0000 assumptions of which are identified as attributing sole blame for Wilson’s objections to Treem. As it remains unusual for the position of drama showrunner to be held by a woman, the potential harm of such auteurist assumptions is made clear by the example of The Affair.","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42103935","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The transnationalization of television production has been examined by studies on formats and multinational media companies, which have often highlighted the resilience of the local in the global. This article investigates transnationalization on the micro level of television production, drawing on participant observations in a Dutch production company that is partly owned by an American conglomerate. It explores the deep entanglement of the local with the global in different facets of production – including legal, organizational and market aspects – as manifested in daily practices and decision-making in television production. Our analysis reveals an industrial logic of formatting that is not only induced by transnational ownership structures and business models but also deeply ingrained in production routines and programme conventions. Through this logic, transnationalization shapes media professionals’ daily work, the selection of programme ideas and the process of content development.
{"title":"The logic of formatting: A case study on transnational television production","authors":"J. van Keulen, T. Krijnen, Joke Bauwens","doi":"10.1386/jptv_00064_1","DOIUrl":"https://doi.org/10.1386/jptv_00064_1","url":null,"abstract":"The transnationalization of television production has been examined by studies on formats and multinational media companies, which have often highlighted the resilience of the local in the global. This article investigates transnationalization on the micro level of television production, drawing on participant observations in a Dutch production company that is partly owned by an American conglomerate. It explores the deep entanglement of the local with the global in different facets of production – including legal, organizational and market aspects – as manifested in daily practices and decision-making in television production. Our analysis reveals an industrial logic of formatting that is not only induced by transnational ownership structures and business models but also deeply ingrained in production routines and programme conventions. Through this logic, transnationalization shapes media professionals’ daily work, the selection of programme ideas and the process of content development.","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85818206","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article offers an overview of the various kinds of nostalgia Netflix engages with. The focus here is self-produced originals and the way nostalgic elements are used to create different kinds of political outlooks within a transnational television environment. An underlying question is: in what ways can nostalgia be political within the transnational context of Netflix? The article explores this question while giving an overview of nostalgia’s use in different series, such as the culturally regressive politics of The Crown (2016–present), the progressive social justice project of Sex Education (2019–present) and the semiotic (if not political) project in series like Bridgerton (2020–present).
{"title":"Netflix, nostalgia and transnational television","authors":"M. Jenner","doi":"10.1386/jptv_00058_1","DOIUrl":"https://doi.org/10.1386/jptv_00058_1","url":null,"abstract":"This article offers an overview of the various kinds of nostalgia Netflix engages with. The focus here is self-produced originals and the way nostalgic elements are used to create different kinds of political outlooks within a transnational television environment. An underlying question is: in what ways can nostalgia be political within the transnational context of Netflix? The article explores this question while giving an overview of nostalgia’s use in different series, such as the culturally regressive politics of The Crown (2016–present), the progressive social justice project of Sex Education (2019–present) and the semiotic (if not political) project in series like Bridgerton (2020–present).","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89526120","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This short article explores the popular property renovation series DIY SOS: The Big Build (2010–present) to examine what it can tell us about the textual, affective and political modes of nostalgia on television. Inverting the homesick at the heart of nostalgia it considers, instead, the idea of the sick home by examining the ways in which the series represents and remedies lives affected by chronic illness and/or disability. The nostalgic promise of The Big Build is of a home to return to in the future and I argue that by placing the programme within the context of the COVID-19 pandemic, the series reveals a complex dynamic of loss and recuperation and a powerful nostalgic fantasy of community, care and (public service) television.
{"title":"The homesick and the sick home","authors":"A. Holdsworth","doi":"10.1386/jptv_00057_1","DOIUrl":"https://doi.org/10.1386/jptv_00057_1","url":null,"abstract":"This short article explores the popular property renovation series DIY SOS: The Big Build (2010–present) to examine what it can tell us about the textual, affective and political modes of nostalgia on television. Inverting the homesick at the heart of nostalgia it considers, instead, the idea of the sick home by examining the ways in which the series represents and remedies lives affected by chronic illness and/or disability. The nostalgic promise of The Big Build is of a home to return to in the future and I argue that by placing the programme within the context of the COVID-19 pandemic, the series reveals a complex dynamic of loss and recuperation and a powerful nostalgic fantasy of community, care and (public service) television.","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73526308","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the 1960s, the majority of Doctor Who (1963–89, 1996, 2005–present) episodes were wiped or lost. Students and staff at the University of Central Lancashire recently took on the challenge of remaking the missing Doctor Who episode ‘Mission to the Unknown’ (1965). The goal was to faithfully recreate the episode in a way that lays a claim to authenticity. This article examines the process and product and asks, with reference to television historiography, whether it achieves its goal of authenticity and what ‘authenticity’ might mean in this context. Ellis and others discuss the estrangement felt when viewing television from earlier decades. This article discusses the ‘feedback loop’ involved in knowing that the episode was made recently whilst assessing it as if it had been made in the past. The estrangement the viewer feels is therefore a sign that the episode is succeeding in its task of staying authentic to its era. But is it possible to completely abandon the knowledge of its contemporary production and lose oneself to the experience of viewing?
在20世纪60年代，《神秘博士》(1963-89年、1996年、2005年至今)的大部分情节都被删除或丢失。中央兰开夏大学的学生和工作人员最近接受了重拍《神秘博士》中失踪的一集《未知任务》(Mission to the Unknown, 1965)的挑战。我们的目标是以一种声称真实的方式忠实地重现这一集。本文考察了这一过程和产物，并以电视史学为参照，询问它是否达到了其真实性的目标，以及在这种背景下“真实性”可能意味着什么。埃利斯和其他人讨论了几十年前看电视时的疏远感。这篇文章讨论的是“反馈循环”，即知道情节是最近制作的，同时将其视为过去制作的。因此，观众感受到的疏离感是一种迹象，表明这一集成功地完成了保持时代真实性的任务。但是，是否有可能完全放弃对其当代生产的认识，将自己迷失在观看的体验中呢?
{"title":"An experiment in space and time: Remaking the missing Doctor Who episode ‘Mission to the Unknown’","authors":"P. Braithwaite","doi":"10.1386/jptv_00060_1","DOIUrl":"https://doi.org/10.1386/jptv_00060_1","url":null,"abstract":"In the 1960s, the majority of Doctor Who (1963–89, 1996, 2005–present) episodes were wiped or lost. Students and staff at the University of Central Lancashire recently took on the challenge of remaking the missing Doctor Who episode ‘Mission to the Unknown’ (1965). The goal was to faithfully recreate the episode in a way that lays a claim to authenticity. This article examines the process and product and asks, with reference to television historiography, whether it achieves its goal of authenticity and what ‘authenticity’ might mean in this context. Ellis and others discuss the estrangement felt when viewing television from earlier decades. This article discusses the ‘feedback loop’ involved in knowing that the episode was made recently whilst assessing it as if it had been made in the past. The estrangement the viewer feels is therefore a sign that the episode is succeeding in its task of staying authentic to its era. But is it possible to completely abandon the knowledge of its contemporary production and lose oneself to the experience of viewing?","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80546881","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Sky/HBO’s miniseries Chernobyl (2019) tells a human story behind the catastrophic disaster that had begun with an explosion at the Chernobyl Nuclear Power Plant in Soviet Ukraine on 26 April 1986. Over the course of five one-hour episodes, Chernobyl dramatizes the incidents that paved the way to the massive explosion, such as the Cold War era, the dysfunctional Soviet bureaucracy and the power issues among the male political and scientific establishment. The highlight of the miniseries is female agency being the symbol of scientific approach, rational thought and common sense. This article analyses Chernobyl and the character of a Belarusian nuclear physicist named Ulyana Khomyuk (played by Emily Watson) by focusing on women’s representation on popular television in science, technology, engineering and mathematics (STEM) fields. It also questions whether Chernobyl is one of the very few examples in popular culture of changing patterns of women’s representation in STEM.
{"title":"A woman scientist in pursuit of truth: A rising trend of representation with Chernobyl","authors":"A. Tunç","doi":"10.1386/jptv_00063_1","DOIUrl":"https://doi.org/10.1386/jptv_00063_1","url":null,"abstract":"Sky/HBO’s miniseries Chernobyl (2019) tells a human story behind the catastrophic disaster that had begun with an explosion at the Chernobyl Nuclear Power Plant in Soviet Ukraine on 26 April 1986. Over the course of five one-hour episodes, Chernobyl dramatizes the incidents that paved the way to the massive explosion, such as the Cold War era, the dysfunctional Soviet bureaucracy and the power issues among the male political and scientific establishment. The highlight of the miniseries is female agency being the symbol of scientific approach, rational thought and common sense. This article analyses Chernobyl and the character of a Belarusian nuclear physicist named Ulyana Khomyuk (played by Emily Watson) by focusing on women’s representation on popular television in science, technology, engineering and mathematics (STEM) fields. It also questions whether Chernobyl is one of the very few examples in popular culture of changing patterns of women’s representation in STEM.","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79749590","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This introduces the following dossier which, inspired by the roundtable panel ‘Streaming the past: Contemporary television, genre and nostalgia’ from the University of Hertfordshire’s 2021 genre/nostalgia conference, explores contemporary television’s relationship to nostalgia amid multi-platform shifts and the COVID-19 pandemic. While non-linear television has in some ways disrupted linear television’s ties to nostalgia, it has also seen a rise in aesthetically nostalgic programming. The introduction considers how this connects to broader cultural nostalgic trends, themselves fuelled by diversifying media technologies, and complicates meanings traditionally associated with period programming. It explores implications of recycling predominantly western and mediated pasts, and considers how the pandemic has highlighted intersections between linear television, non-linear platforms and differing forms of nostalgia. Finally, it introduces the dossier’s three short essays.
{"title":"Introduction: Television and nostalgia now","authors":"Caitlin Shaw","doi":"10.1386/jptv_00056_2","DOIUrl":"https://doi.org/10.1386/jptv_00056_2","url":null,"abstract":"This introduces the following dossier which, inspired by the roundtable panel ‘Streaming the past: Contemporary television, genre and nostalgia’ from the University of Hertfordshire’s 2021 genre/nostalgia conference, explores contemporary television’s relationship to nostalgia amid multi-platform shifts and the COVID-19 pandemic. While non-linear television has in some ways disrupted linear television’s ties to nostalgia, it has also seen a rise in aesthetically nostalgic programming. The introduction considers how this connects to broader cultural nostalgic trends, themselves fuelled by diversifying media technologies, and complicates meanings traditionally associated with period programming. It explores implications of recycling predominantly western and mediated pasts, and considers how the pandemic has highlighted intersections between linear television, non-linear platforms and differing forms of nostalgia. Finally, it introduces the dossier’s three short essays.","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73126542","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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