Review of: ABC Sports: The Rise and Fall of Network Sports Television, Travis Vogan (2018)Berkeley, CA: University of California Press, 2981 pp.,ISBN 978-0-52029-295-6, h/bk, $85.00ISBN 978-0-52029-296-3, p/bk, $29.95
{"title":"ABC Sports: The Rise and Fall of Network Sports Television, Travis Vogan (2018)","authors":"William A Quade","doi":"10.1386/jptv_00055_5","DOIUrl":"https://doi.org/10.1386/jptv_00055_5","url":null,"abstract":"Review of: ABC Sports: The Rise and Fall of Network Sports Television, Travis Vogan (2018)Berkeley, CA: University of California Press, 2981 pp.,ISBN 978-0-52029-295-6, h/bk, $85.00ISBN 978-0-52029-296-3, p/bk, $29.95","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45112818","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}
Netflix’s Queer Eye (2018‐present) is often criticized for reinforcing neo-liberal American fantasies of transformation of the self that distract from urgent transformations of economic, political and social worlds. Nonetheless, I use paratextual and textual analyses to argue that the verbal and physical intimacies between the Fab Five are rare in American popular culture, and offer us reworked embodiments of American manhood. It is through these intimacies that the Fab Five enable us to think through the following questions. What does it mean to be a man in contemporary American popular culture? What does it mean to be a man with other men? What does intimacy between men look like?
{"title":"All things keep getting better: Queer Eye and the makeover of American masculinity","authors":"N. Minai","doi":"10.1386/jptv_00051_1","DOIUrl":"https://doi.org/10.1386/jptv_00051_1","url":null,"abstract":"Netflix’s Queer Eye (2018‐present) is often criticized for reinforcing neo-liberal American fantasies of transformation of the self that distract from urgent transformations of economic, political and social worlds. Nonetheless, I use paratextual and textual analyses\u0000 to argue that the verbal and physical intimacies between the Fab Five are rare in American popular culture, and offer us reworked embodiments of American manhood. It is through these intimacies that the Fab Five enable us to think through the following questions. What does it mean to be a\u0000 man in contemporary American popular culture? What does it mean to be a man with other men? What does intimacy between men look like?","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42984624","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}
Derry Girls (2018‐present) playfully satirizes regionalism and first-person narrative while re-enacting a collective memory of the Troubles. A close reading of the series’ opening montage provides the basis for a fuller understanding of the programme’s nuanced critique of efforts to look back on Northern Ireland in the 1990s and make sense of it all with the benefit of hindsight. In lieu of the reassurances of authoritative extradiegetic commentary, the series’ opening monologue provides a humorous account of the unresolved tribulations of adolescence and, in the larger political frame, a community’s continuing inability to situate itself as a region within the United Kingdom.
{"title":"‘Nowhere to hide’: Regionalism and memory in Lisa McGee’s Derry Girls","authors":"John D. Schwetman","doi":"10.1386/jptv_00049_1","DOIUrl":"https://doi.org/10.1386/jptv_00049_1","url":null,"abstract":"Derry Girls (2018‐present) playfully satirizes regionalism and first-person narrative while re-enacting a collective memory of the Troubles. A close reading of the series’ opening montage provides the basis for a fuller understanding of the programme’s nuanced\u0000 critique of efforts to look back on Northern Ireland in the 1990s and make sense of it all with the benefit of hindsight. In lieu of the reassurances of authoritative extradiegetic commentary, the series’ opening monologue provides a humorous account of the unresolved tribulations of\u0000 adolescence and, in the larger political frame, a community’s continuing inability to situate itself as a region within the United Kingdom.","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49190455","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}
Re-enactment can enable participatory researchers to ‘experience’ through qualitative ethnography the dynamics of how teams of practitioners employ tacit skills to make decisions and collaborate. This article explores the practice-as-research re-enactment of a historic 1960s television show, Jazz 625 (1964–66). With the emphasis on the process rather than the product through the production of a modern-day interpretation of the original – entitled Jazz 1080 – the researchers draw conclusions around the complex workings of a television production team through the creation of a new artefact. The empirical research captures how professional attitudes and institutionalized forms of collaborative creative labour shape programme-making. Comparisons are made between the original and re-enacted productions, with the conclusion being made that, despite advances in technology, the practices and processes of television production are remarkably similar between the 1960s and the early twenty-first century.
{"title":"How television works: Discourses, determinants and dynamics arising from the re-enactment of Jazz 625","authors":"Nicolas Pillai, Vanessa Jackson","doi":"10.1386/JPTV_00046_1","DOIUrl":"https://doi.org/10.1386/JPTV_00046_1","url":null,"abstract":"Re-enactment can enable participatory researchers to ‘experience’ through qualitative ethnography the dynamics of how teams of practitioners employ tacit skills to make decisions and collaborate. This article explores the practice-as-research re-enactment of a historic 1960s television show, Jazz 625 (1964–66). With the emphasis on the process rather than the product through the production of a modern-day interpretation of the original – entitled Jazz 1080 – the researchers draw conclusions around the complex workings of a television production team through the creation of a new artefact. The empirical research captures how professional attitudes and institutionalized forms of collaborative creative labour shape programme-making. Comparisons are made between the original and re-enacted productions, with the conclusion being made that, despite advances in technology, the practices and processes of television production are remarkably similar between the 1960s and the early twenty-first century.","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83770980","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 the careers of the first three musical stars of television in Scotland: Jimmy Shand, Andy Stewart and Kenneth McKellar. With reference to the shows with which they were most closely associated, The Kilt Is My Delight (1956–63), The White Heather Club (1958–68) and A Song for Everyone (1957–62), it investigates popular music on television from Scotland during its formative years, highlighting the geographic and political issues that made this distinct in a wider context. Drawing on a range of archival sources, it argues the importance of these acts and shows them both as a counterpoint to existing accounts of popular music on early television and in the wider context of the music and entertainment industries.
{"title":"The kilt is my delight? Popular music on early television from Scotland","authors":"John Williamson","doi":"10.1386/JPTV_00044_1","DOIUrl":"https://doi.org/10.1386/JPTV_00044_1","url":null,"abstract":"This article explores the careers of the first three musical stars of television in Scotland: Jimmy Shand, Andy Stewart and Kenneth McKellar. With reference to the shows with which they were most closely associated, The Kilt Is My Delight (1956–63), The White Heather Club (1958–68) and A Song for Everyone (1957–62), it investigates popular music on television from Scotland during its formative years, highlighting the geographic and political issues that made this distinct in a wider context. Drawing on a range of archival sources, it argues the importance of these acts and shows them both as a counterpoint to existing accounts of popular music on early television and in the wider context of the music and entertainment industries.","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78560141","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}
Holby City (1999‐present) is a stalwart of British television media. Since its conception in 1999, the show has continued to attract contemporary audiences who tune in to passively, and passionately, experience turbulent battles between life and death. However, the locus of interest is not on the patients within Holby’s wings, but rather the staff themselves; it is their emotional, psychological and pedagogical development which spurs the plot forward and grips viewer attention. Through the use of medical pedagogy, Holby City becomes a drama of perpetual Bildungsromane, where relationships between peers, mentors and mentees are under consistent pressure. Furthermore, this pedagogy does not merely ensure Holby City’s series continuation but becomes a site of transformation, challenging preconceived ideologies of toxic masculinity. This is never more apparent than in the character of Sacha Levy (Bob Barrett), whose emotional availability, vulnerability and religious spirituality directly challenge concepts of the self-destructive ‘burnt-out’ male medic. This article explores the character of Sacha Levy in Holby City, demonstrating how the show’s writers engage actively in research to directly confront stereotypes of toxic masculinity and Jewish underrepresentation in the contemporary medical drama.
{"title":"Sacha Levy’s unorthodox kindness: Holby City’s medicine and pedagogy","authors":"F. Ferguson, Carolann North","doi":"10.1386/jptv_00054_1","DOIUrl":"https://doi.org/10.1386/jptv_00054_1","url":null,"abstract":"Holby City (1999‐present) is a stalwart of British television media. Since its conception in 1999, the show has continued to attract contemporary audiences who tune in to passively, and passionately, experience turbulent battles between life and death. However, the locus\u0000 of interest is not on the patients within Holby’s wings, but rather the staff themselves; it is their emotional, psychological and pedagogical development which spurs the plot forward and grips viewer attention. Through the use of medical pedagogy, Holby City becomes a drama of\u0000 perpetual Bildungsromane, where relationships between peers, mentors and mentees are under consistent pressure. Furthermore, this pedagogy does not merely ensure Holby City’s series continuation but becomes a site of transformation, challenging preconceived ideologies of\u0000 toxic masculinity. This is never more apparent than in the character of Sacha Levy (Bob Barrett), whose emotional availability, vulnerability and religious spirituality directly challenge concepts of the self-destructive ‘burnt-out’ male medic. This article explores the character\u0000 of Sacha Levy in Holby City, demonstrating how the show’s writers engage actively in research to directly confront stereotypes of toxic masculinity and Jewish underrepresentation in the contemporary medical drama.","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45059031","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 an open conversation, Saverio Perrino, then localization executive at BBC Studios, highlights the role of dubbing/subtitling in the global circulation of television content and explains how a large production and distribution company is working to better coordinate the preparation of multiple localized versions. The examples of McMafia (2018‐present) and Good Omens (2019), analysed in detail, show the increasing complexity of localization operations for international content owners and distributors, the challenges provided by specific authors and texts, and the pressure for a global day-and-date release that has become the standard for digital audio-visual platforms.
{"title":"Localization is now claiming its seat at the table: Interview with Saverio Perrino, BBC Studios","authors":"L. Barra","doi":"10.1386/jptv_00030_7","DOIUrl":"https://doi.org/10.1386/jptv_00030_7","url":null,"abstract":"In an open conversation, Saverio Perrino, then localization executive at BBC Studios, highlights the role of dubbing/subtitling in the global circulation of television content and explains how a large production and distribution company is working to better coordinate the preparation\u0000 of multiple localized versions. The examples of McMafia (2018‐present) and Good Omens (2019), analysed in detail, show the increasing complexity of localization operations for international content owners and distributors, the challenges provided by specific authors and\u0000 texts, and the pressure for a global day-and-date release that has become the standard for digital audio-visual platforms.","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41940176","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}
Academic discussion of Netflix has already highlighted the labour of localization that the global service has had to carry out or contract in order to operate smoothly across borders. But not much has been said about independent local players who help to align the service with local audiences, doing so often without any authorization or recognition, and who are still looking for a place in the new distribution ecosystem. Employing the perspective of valuation studies, this article discusses the changing business model of a Czech video-on-demand (VOD) directory, Filmtoro, as an example of a new type of local intermediary contributing to the social construction of the global VOD market.
{"title":"‘Dear Netflix…’: Informal local intermediaries on the periphery of the global VOD market","authors":"Petr Szczepanik","doi":"10.1386/jptv_00032_1","DOIUrl":"https://doi.org/10.1386/jptv_00032_1","url":null,"abstract":"Academic discussion of Netflix has already highlighted the labour of localization that the global service has had to carry out or contract in order to operate smoothly across borders. But not much has been said about independent local players who help to align the service with local\u0000 audiences, doing so often without any authorization or recognition, and who are still looking for a place in the new distribution ecosystem. Employing the perspective of valuation studies, this article discusses the changing business model of a Czech video-on-demand (VOD) directory, Filmtoro,\u0000 as an example of a new type of local intermediary contributing to the social construction of the global VOD market.","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48702324","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 recent growth of interest in television performance has resulted in an array of books and articles which, in turn, have provided this area of study with renewed depth and breadth. Many of these contributions share an interest in questions of achievement, utilizing this term as a means of emphasizing the value in analysing performers’ contributions to the style and meaning of television texts. This article evaluates that critical tendency and uses it as a platform to consider instances in which achievement in television performance may also represent a deceptive or ethically dubious endeavour. The discussion builds to an analysis of television ‘mediums’ ‐ individuals who pretend they are receiving messages from the dead ‐ as a means of articulating the ways in which performance can showcase an impressive range of skills and, at the same time, contain fundamental deceptions or obfuscations. As a result, notions of performance achievement may involve complex and even conflicting evaluations.
{"title":"Small-screen psychics: Television performance as dubious achievement","authors":"James Walters","doi":"10.1386/jptv_00034_1","DOIUrl":"https://doi.org/10.1386/jptv_00034_1","url":null,"abstract":"The recent growth of interest in television performance has resulted in an array of books and articles which, in turn, have provided this area of study with renewed depth and breadth. Many of these contributions share an interest in questions of achievement, utilizing this term as a\u0000 means of emphasizing the value in analysing performers’ contributions to the style and meaning of television texts. This article evaluates that critical tendency and uses it as a platform to consider instances in which achievement in television performance may also represent a deceptive\u0000 or ethically dubious endeavour. The discussion builds to an analysis of television ‘mediums’ ‐ individuals who pretend they are receiving messages from the dead ‐ as a means of articulating the ways in which performance can showcase an impressive range of skills and,\u0000 at the same time, contain fundamental deceptions or obfuscations. As a result, notions of performance achievement may involve complex and even conflicting evaluations.","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41568729","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}
Since the early 1990s, an exponential increase in the demand for foreign TV content has occurred to fill the ever-growing libraries of new speciality channels (and later digital platforms). This process has boosted demand for the translation and adaptation of reality TV series, thus paving the way in Italy, traditionally a dubbing country, for the rise of a new hybrid form of audio-visual translation (AVT), ‘simil-sync’, deemed more cost-effective than dubbing and more user-friendly than subtitling for the local audience. Factual programming has become one of the most successful components of many themed channels, reshaping both Italian television and the national AVT scenario.
{"title":"Reality television and unnatural dialogues: Trends in the Italian audio-visual translation of factual programming","authors":"Linda Rossato","doi":"10.1386/jptv_00026_1","DOIUrl":"https://doi.org/10.1386/jptv_00026_1","url":null,"abstract":"Since the early 1990s, an exponential increase in the demand for foreign TV content has occurred to fill the ever-growing libraries of new speciality channels (and later digital platforms). This process has boosted demand for the translation and adaptation of reality TV series, thus\u0000 paving the way in Italy, traditionally a dubbing country, for the rise of a new hybrid form of audio-visual translation (AVT), ‘simil-sync’, deemed more cost-effective than dubbing and more user-friendly than subtitling for the local audience. Factual programming has become one\u0000 of the most successful components of many themed channels, reshaping both Italian television and the national AVT scenario.","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43858695","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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