Suits’ evocation of masculinity within the neo-liberal office as a site of gender configuration is plural. Although its male protagonists all possess structural power as white, heterosexual, intelligent men (two are wealthy, and eventually the third comes to be), they each reflect varied and occasionally contrasting forms of masculinity. The article explores how, over the seasons, Suits progresses from breadth to depth, with its male characters threading their way through different types of masculine behaviours in order to succeed. In the face of recurrent challenges, their masculinities must be reconfigured. The article examines the manner in which the self becomes a locus of accountability to situate one’s problem-solving ability and subsequent empowerment through performing multiple masculinities.
{"title":"‘I don’t get lucky, I make my own luck’: Masculinities and male bodies in the neo-liberal office space of Suits","authors":"Amanda Chin","doi":"10.1386/jptv_00014_1","DOIUrl":"https://doi.org/10.1386/jptv_00014_1","url":null,"abstract":"Suits’ evocation of masculinity within the neo-liberal office as a site of gender configuration is plural. Although its male protagonists all possess structural power as white, heterosexual, intelligent men (two are wealthy, and eventually the third comes to be), they each\u0000 reflect varied and occasionally contrasting forms of masculinity. The article explores how, over the seasons, Suits progresses from breadth to depth, with its male characters threading their way through different types of masculine behaviours in order to succeed. In the face of recurrent\u0000 challenges, their masculinities must be reconfigured. The article examines the manner in which the self becomes a locus of accountability to situate one’s problem-solving ability and subsequent empowerment through performing multiple masculinities.","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45820210","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 considers the depiction of region and materiality in Thames Television’s Man at the Top (1970‐72). Dealing with the present by looking to the past, the series critiques the architectural reconstruction that changed the face of the country during the post-war years and beyond. This transformation is seen through the jaundiced eye of series protagonist Joe Lampton, a 1950s anti-hero recycled for a more uncertain age. He finds himself caught between the pull of tradition and the push for progress ‐ forces aligned respectively with the industrial North (his native Yorkshire) and the cosmopolitan South (his contemporaneous London-based life). Why, in the broader context of the early 1970s, must Lampton’s North be identified with the past? How does materiality work to frame remembrance? The article responds to these questions by mapping the series, along with television culture more generally, onto its socio-political moment. It arrives at conclusions via a constructionist analysis that draws on ‘New Left’ inflected discourses, on the one hand, and philosophies relating to collective memory and materiality on the other.
{"title":"Joe Lampton’s north‐south divide: Remembering place and space in Man at the Top (1970‐72)","authors":"P. Kiszely","doi":"10.1386/jptv_00016_1","DOIUrl":"https://doi.org/10.1386/jptv_00016_1","url":null,"abstract":"This article considers the depiction of region and materiality in Thames Television’s Man at the Top (1970‐72). Dealing with the present by looking to the past, the series critiques the architectural reconstruction that changed the face of the country during the\u0000 post-war years and beyond. This transformation is seen through the jaundiced eye of series protagonist Joe Lampton, a 1950s anti-hero recycled for a more uncertain age. He finds himself caught between the pull of tradition and the push for progress ‐ forces aligned respectively with\u0000 the industrial North (his native Yorkshire) and the cosmopolitan South (his contemporaneous London-based life). Why, in the broader context of the early 1970s, must Lampton’s North be identified with the past? How does materiality work to frame remembrance? The article responds to these\u0000 questions by mapping the series, along with television culture more generally, onto its socio-political moment. It arrives at conclusions via a constructionist analysis that draws on ‘New Left’ inflected discourses, on the one hand, and philosophies relating to collective memory\u0000 and materiality on the other.","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48116139","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 investigates the professional identities of key members of the television production teams that cooperate with volunteer citizens. The data is derived from production ethnographies conducted during three Finnish reality and documentary productions over the 2015‐18 period, which included reflective interviews with scriptwriter-directors, operating producers and a key cinematographer. In the productions utilizing volunteers as storytellers, the professionals focused on building multivocal television narration, which offered amateur presenters valuable opportunities to address the audience. In doing so, the professionals drew on their craft skills and gladly resorted to broad job descriptions and reciprocal teamwork. At the same time, they took the lead in planning the programme entirely and used production tools to control their communication with amateurs. However, in their reflections, the professionals also expressed uncertainty about many obstacles and tensions in selecting and encountering ordinary people. According to the activity theory, the television production staff’s professional development has to be built on the relevant strata of their current skills. The professionals’ identified interest in building multivocal content forms the basis for rejuvenating the entire production process towards co-creation, to take optimal advantage of the way regular citizens make sense.
{"title":"Television professionals’ reflections on their practices while cooperating with amateur participants: A case study of three topical Finnish multiplatform shows","authors":"Tiina Rautkorpi","doi":"10.1386/jptv_00018_1","DOIUrl":"https://doi.org/10.1386/jptv_00018_1","url":null,"abstract":"This article investigates the professional identities of key members of the television production teams that cooperate with volunteer citizens. The data is derived from production ethnographies conducted during three Finnish reality and documentary productions over the 2015‐18\u0000 period, which included reflective interviews with scriptwriter-directors, operating producers and a key cinematographer. In the productions utilizing volunteers as storytellers, the professionals focused on building multivocal television narration, which offered amateur presenters valuable\u0000 opportunities to address the audience. In doing so, the professionals drew on their craft skills and gladly resorted to broad job descriptions and reciprocal teamwork. At the same time, they took the lead in planning the programme entirely and used production tools to control their communication\u0000 with amateurs. However, in their reflections, the professionals also expressed uncertainty about many obstacles and tensions in selecting and encountering ordinary people. According to the activity theory, the television production staff’s professional development has to be built on\u0000 the relevant strata of their current skills. The professionals’ identified interest in building multivocal content forms the basis for rejuvenating the entire production process towards co-creation, to take optimal advantage of the way regular citizens make sense.","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48171923","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 Redakteur, the commissioning editor in TV fiction, has frequently been criticized in current public and industry-internal discourse on ‘quality’ series and the supposed lack of them in Germany. This article takes a closer look at this hardly examined but very important actor in German television. Based on expert interviews, it discusses how this profession is negotiated within the industry and how its role is changing in light of the broader transformation and transnationalization of the TV industry in Germany. Shifts in fictional content and its distribution have led to fundamental changes in the work of editors and their involvement in collaborative project networks. For example, the demand for ‘quality’ serials, ideally distributed in different countries, is accompanied by the adoption of writers’ room and showrunner models. Hence, the relationship between editor and screenwriter is transforming, too. The previous cooperation between editor and producer is also ripe for discussion, as signs point to a move away from 100 per cent financing by broadcasters, which was the rule in German television fiction for a long time. New financing models are negotiated in conjunction with online distribution, which fundamentally restructures the editor’s role. However, so far, linear broadcasting slots still form a central basis of editors’ work.
{"title":"From ‘Redakteursfernsehen’ to ‘showrunners’: Commissioning editors and changing project networks in TV fiction from Germany","authors":"Florian Krauß","doi":"10.1386/jptv_00017_1","DOIUrl":"https://doi.org/10.1386/jptv_00017_1","url":null,"abstract":"The Redakteur, the commissioning editor in TV fiction, has frequently been criticized in current public and industry-internal discourse on ‘quality’ series and the supposed lack of them in Germany. This article takes a closer look at this hardly examined but very\u0000 important actor in German television. Based on expert interviews, it discusses how this profession is negotiated within the industry and how its role is changing in light of the broader transformation and transnationalization of the TV industry in Germany. Shifts in fictional content and its\u0000 distribution have led to fundamental changes in the work of editors and their involvement in collaborative project networks. For example, the demand for ‘quality’ serials, ideally distributed in different countries, is accompanied by the adoption of writers’ room and showrunner\u0000 models. Hence, the relationship between editor and screenwriter is transforming, too. The previous cooperation between editor and producer is also ripe for discussion, as signs point to a move away from 100 per cent financing by broadcasters, which was the rule in German television fiction\u0000 for a long time. New financing models are negotiated in conjunction with online distribution, which fundamentally restructures the editor’s role. However, so far, linear broadcasting slots still form a central basis of editors’ work.","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/jptv_00017_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48409163","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}
{"title":"Tearing up the rulebook: Feminist mothering in Kay Mellor’s In the Club","authors":"J. Rodgers","doi":"10.1386/jptv_00006_1","DOIUrl":"https://doi.org/10.1386/jptv_00006_1","url":null,"abstract":"","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46179135","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}
{"title":"‘Sex doesn’t alarm me’: Exploring heterosexual male identity in BBC’s Sherlock","authors":"Ashley Morgan","doi":"10.1386/jptv_00004_1","DOIUrl":"https://doi.org/10.1386/jptv_00004_1","url":null,"abstract":"Article published in Journal of Popular Television on 1 October 2019, available at: https://doi.org/10.1386/jptv_00004_1.","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44523740","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}
{"title":"The Shield and Breaking Bad as televisual fallen-man serial melodramas","authors":"David P. Pierson","doi":"10.1386/jptv_00005_1","DOIUrl":"https://doi.org/10.1386/jptv_00005_1","url":null,"abstract":"","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43862173","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}
{"title":"‘Wiring’ The Wire: Transtextual layers and tragic realism in The Wire","authors":"Jesús González","doi":"10.1386/jptv_00002_1","DOIUrl":"https://doi.org/10.1386/jptv_00002_1","url":null,"abstract":"","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44654878","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}
{"title":"Reviews","authors":"Cynthia Felando, C. Zeitz","doi":"10.1386/jptv_00007_5","DOIUrl":"https://doi.org/10.1386/jptv_00007_5","url":null,"abstract":"","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48558370","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}
{"title":"‘He’s not Rain Man’: Representations of the sentimental savant in ABC’s The Good Doctor","authors":"A. Moore","doi":"10.1386/JPTV_00003_1","DOIUrl":"https://doi.org/10.1386/JPTV_00003_1","url":null,"abstract":"","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46746715","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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