Pub Date : 2021-01-02DOI: 10.1080/01956051.2021.1868935
Gary R. Edgerton, Michael T. Marsden
Kevin Willmott’s journey as an independent filmmaker is an improbable success story. He was born on the 31 August 1958 in Junction City, Kansas, a small city of a little more than 20,000 residents some ninety miles west of the university town of Lawrence and 125 miles from Kansas City, Missouri. He earned his BA in drama from Marymount College in nearby Salina, then an MFA in dramatic writing from New York University. Willmott is a multi-hyphenate—a writer, producer, director, and sometimes actor—who now is in his third decade as an independent moviemaker with major creative credits on fifteen films and counting.
{"title":"Chronicler of the “American Problem”: An Interview with Kevin Willmott","authors":"Gary R. Edgerton, Michael T. Marsden","doi":"10.1080/01956051.2021.1868935","DOIUrl":"https://doi.org/10.1080/01956051.2021.1868935","url":null,"abstract":"Kevin Willmott’s journey as an independent filmmaker is an improbable success story. He was born on the 31 August 1958 in Junction City, Kansas, a small city of a little more than 20,000 residents some ninety miles west of the university town of Lawrence and 125 miles from Kansas City, Missouri. He earned his BA in drama from Marymount College in nearby Salina, then an MFA in dramatic writing from New York University. Willmott is a multi-hyphenate—a writer, producer, director, and sometimes actor—who now is in his third decade as an independent moviemaker with major creative credits on fifteen films and counting.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"30 1","pages":"2 - 15"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78023566","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/01956051.2020.1868919
Caroline V. Schroeter
{"title":"THE ENCYCLOPEDIA OF RACISM IN AMERICAN FILM. Ed. Salvador Jiménez Murguia. Rowman & Littlefield, 2018. 805 pp. $125 hardcover, $118 e-book.","authors":"Caroline V. Schroeter","doi":"10.1080/01956051.2020.1868919","DOIUrl":"https://doi.org/10.1080/01956051.2020.1868919","url":null,"abstract":"","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"7 Suppl 6 1","pages":"64 - 65"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88334410","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/01956051.2020.1868924
Farisa Khalid
{"title":"THEY DREW AS THEY PLEASED: THE HIDDEN ART OF DISNEY’S MID-CENTURY ERA; THE 1950s AND 1960s.By Didier Ghez. Chronicle Books, 2018. 224 pp. $45.00 hardcover.","authors":"Farisa Khalid","doi":"10.1080/01956051.2020.1868924","DOIUrl":"https://doi.org/10.1080/01956051.2020.1868924","url":null,"abstract":"","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"1 1","pages":"67 - 68"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77173315","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/01956051.2020.1820937
Bruce E. Altschuler
Abstract: After the Supreme Court reinstituted the death penalty in 1976, films about capital punishment were written and directed almost entirely by white men. The protagonists and those sentenced to death were largely white and, to avoid antagonizing audiences who might be offended if the films took positions on larger issues, the stories told were those of individuals rather than institutions. The 2019 films Just Mercy and Clemency featured actors, directors, and screenwriters of color. This article asks whether this made a substantive difference in the content of these films and what the likelihood of significant change in the future will be.
{"title":"The Changing Face of Capital Punishment Films: Just Mercy and Clemency","authors":"Bruce E. Altschuler","doi":"10.1080/01956051.2020.1820937","DOIUrl":"https://doi.org/10.1080/01956051.2020.1820937","url":null,"abstract":"Abstract: After the Supreme Court reinstituted the death penalty in 1976, films about capital punishment were written and directed almost entirely by white men. The protagonists and those sentenced to death were largely white and, to avoid antagonizing audiences who might be offended if the films took positions on larger issues, the stories told were those of individuals rather than institutions. The 2019 films Just Mercy and Clemency featured actors, directors, and screenwriters of color. This article asks whether this made a substantive difference in the content of these films and what the likelihood of significant change in the future will be.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"40 1","pages":"30 - 39"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77478016","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/01956051.2020.1868915
V. H. Pennanen
H ome Is Where the Hurt Is: Media Depictions of Wives and Mothers is the first of two new books by Sara Hosey, associate professor of English and women and gender studies at Nassau Community College, Garden City, New York. Hosey has written extensively on identity and power issues and co-authored a reading and writing manual for college students (see, for example, Hosey and O’Connor; Hosey, “One of Us”; Hosey, “Canaries and Coalmines”). Her newest work is the novel Iphigenia Murphy, whose teenage protagonist escapes from an abusive home and sets up a better one in a park. There, despite dangers and fallout from past traumas, Iffy and her “misfit” friends can be themselves, and Iffy finds herself. Hosey explains how the inspiration for Iffy’s story came to her as she worked on Home Is Where the Hurt Is: “Home ... is centrally concerned with the ways girls and women are often depicted in popular culture. And ... I ... found that I wanted to participate in the creation of that culture ... dramatiz[ing] some of the issues that many girls and women must grapple with ... [but also] the healing power of female friendship and support. My characters are not perfect people, but I did try to write the kinds of characters, male and female, that I’d like to see more of in popular culture” (qtd. in De Feo). While no one can predict how many adolescent fans of Iphigenia Murphy will eventually (perhaps in college) read Home Is Where the Hurt Is, Home surely deserves a thoughtful, appreciative audience. Chapters one through five focus on “hurt,” in particular, media depictions of wives and mothers that “address troubling realities at the same time as they fall back on outmoded, limited understandings of gender roles ... thus naturalizing women’s oppression” (7). Chapter one traces narratives about women who are trapped in their own homes, frustrated by their plight, and generally unable to free themselves. They include women whose doctors demand they hunker down to safeguard their pregnancies— never mind that Jules (What to Expect When You’re Expecting) is a fitness expert, or that a demonic ghost spawned one of Vivien’s “twins” (“Murder House,” American Horror Story). Whereas Jules becomes reconciled to her plight and so becomes a happier wife, Vivien and her family end up dead, yet together and content (!). The widowed Amelia in The Babadook, stifled by maternal duties, becomes demonically possessed; her son forcefully defeats—though he cannot kill—the monster and reclaims Amelia through love. In Precious, the title character is stuck at home with her villainous mother and repeatedly raped by her biological father; the film ends on a half-hopeful note as Precious, aware she can at least “make [limited] choices” (34), departs forever with her two young children. And in the Bad Moms comedies, overwhelmed middle-class mothers harmlessly blow off steam and thus become better parents. Their common theme of entrapment notwithstanding, these stories all end by affirmi
《家在伤害之处:媒体对妻子和母亲的描绘》是萨拉·霍西(Sara Hosey)两本新书中的第一本，她是纽约花园城拿骚社区学院(Nassau Community College)英语和女性与性别研究副教授。Hosey撰写了大量关于身份和权力问题的文章，并与人合著了一本大学生阅读和写作手册(例如，参见Hosey和O 'Connor;Hosey，“我们中的一个”;Hosey，“金丝雀和煤矿”)。她的最新作品是小说《伊菲革尼娅·墨菲》(Iphigenia Murphy)，书中十几岁的主人公逃离了一个虐待家庭，在公园里建立了一个更好的家庭。在那里，尽管有危险和过去创伤的影响，伊菲和她的“不合群”的朋友可以做自己，伊菲找到了自己。Hosey解释了她是如何在《家是受伤的地方》中获得伊菲故事的灵感的:“家……主要关注的是流行文化中对女孩和妇女的描绘方式。和…我…我发现我想参与这种文化的创造……将许多女孩和妇女必须努力解决的一些问题戏剧化……(还有)女性友谊和支持的治愈力量。我的角色并不是完美的人，但我确实试着去写那些我希望在流行文化中看到更多的角色，不管是男性还是女性。”De Feo)。虽然没有人能预测有多少伊菲igenia Murphy的青少年粉丝最终会(也许是在大学里)阅读《家是受伤的地方》，但《家》肯定值得一群有思想、有感激的读者。第一章到第五章关注的是“伤害”，特别是媒体对妻子和母亲的描述，“在解决令人不安的现实的同时，他们又回到了对性别角色的过时、有限的理解……(7)第一章追溯了那些被困在自己家中、因困境而沮丧、通常无法解放自己的女性的叙事。其中包括医生要求她们蹲下身体以保护怀孕的女性——更不用说朱尔斯(《当你怀孕的时候会发生什么》)是一位健身专家，或者是一个恶魔鬼魂催生了维维安的“双胞胎”之一(《美国恐怖故事》)。而朱尔斯和解了她的困境，因此成为一个更幸福的妻子，费雯和她的家人最终都死了，但在一起和满足(!)《巴巴杜书》中守寡的阿米莉亚被母亲的职责所压抑，被恶魔附身;她的儿子虽然不能杀死怪物，但却通过爱打败了怪物，重新夺回了阿米莉亚。在《珍爱》中，主人公被困在家里，和她恶毒的母亲在一起，并被她的生父多次强奸;影片以一种半乐观的基调结束，因为Precious意识到她至少可以“做出有限的选择”(34岁)，带着两个年幼的孩子永远地离开了。在《坏妈妈》喜剧中，不堪重负的中产阶级母亲无害地发泄情绪，从而成为更好的父母。尽管它们的共同主题是“诱捕”，但这些故事的结局都肯定了传统女性角色的正确性，除了一个例外，也肯定了典型的家庭美德。第二章讨论了电视中的两种后女权主义角色类型:“少女妈妈”，她们可爱、顽皮、性感、善良，经济上依赖自己的父亲;“世俗的女孩”，要么比她的妈妈更成熟(《吉尔莫女孩》中的罗里和《为人父母》中的安珀)，要么是一个怀孕的少女，长大后成为一个老式的“好”妈妈，后悔过去的选择，屈服于男性权威(《16岁和怀孕》，少女妈妈)。第三章揭示了《暮光之城》和《饥饿游戏》系列如何将两位女主角的母亲描绘成无用之人;尽管有时会不情愿地称赞他们(凯特尼斯欣赏她妈妈的草药技能，贝拉欣赏她“少女妈妈”的善良心肠)，但两个女儿都更喜欢并听从男人的暗示。凯特尼斯采用了猎人和战士的传统男性角色，这样她才能生存并保护她的家人;贝拉冒着生命危险保护妈妈，并认同爸爸，尽管贝拉总体上比凯特尼斯更守旧。具有讽刺意味的是，正如Hosey所观察到的，两位女主角在各自的系列结尾都“完全被家庭所养”(61岁):Katniss是一个全职妈妈，而Bella和女儿Renesmee、丈夫Edward以及她的吸血鬼姻亲幸福地“生活”在一起。Hosey认为，《暮光之城》的结论是后女权主义幻想的一个最能说明问题的例子:“当一个人的所有需求都被一群有魅力、不知疲倦、乐于助人的家庭成员满足时，而且一个人的生活与持续存在系统性性别歧视的更大的男权世界隔绝时，谁还需要女权主义?”(67)第四章从字面的角度重新审视了有毒家庭的主题，探讨了生活因化学中毒而出轨的妇女的故事，她们渴望治愈和正义。霍西分析了半搞笑半噩梦的《不可思议的萎缩女人》和具有讽刺意味的标题，无趣的《保险箱》。 这些电影描绘了家庭主妇如何努力理解和治愈环境疾病;尽管“退缩的女人”短暂地尝试了一次演讲，《安全》中的主人公也勉强通过了一次演讲，但“这两个女人都没有对她的社区做出实质性的改变”，更不用说对世界了(84)。相比之下，《消费》中的职业母亲为了世界各地濒临灭绝的人们，而不仅仅是她生病的孩子，勇敢而公开地战斗。然而，最后，她似乎也无能为力，尽管片尾字幕邀请我们跟随她的脚步。在第五章中，Hosey考察了《够了》和《女服务员》中所描绘的家庭暴力。她指出，两部电影都把打老婆本质上看作是一个女人可以自己解决的私人问题——无论是通过在男人自己的暴力游戏中打败他，还是从“仁慈的家长”那里得到帮助(104)，或者带着孩子重新开始(但不是在避难所)。现实生活中的大多数受害者都太孤立、太害怕、太贫穷或太守法，以至于无法考虑这些选择，这样的电影往好里说是无关紧要的，往坏里说是侮辱。第六章到第九章以及结语转向了“希望”，Hosey分析了“继续识别……围绕着性别角色的矛盾和限制，也将妇女和母亲视为值得享有尊严和安全的个体……(指向)一个[真正的]女权主义的未来”(7)。在这些更微妙、更进步的文本中，有《玛迪亚的家庭团聚》，其中丽莎公开取消了她与一个虐待狂的男人的婚礼;Tiny Furniture，它的女家长是自尊和爱的典范;书评
{"title":"HOME IS WHERE THE HURT IS: MEDIA DEPICTIONS OF WIVES AND MOTHERS. By Sara Hosey. Jefferson, NC: McFarland, 2019. 224 pp. $55.00 paper.","authors":"V. H. Pennanen","doi":"10.1080/01956051.2020.1868915","DOIUrl":"https://doi.org/10.1080/01956051.2020.1868915","url":null,"abstract":"H ome Is Where the Hurt Is: Media Depictions of Wives and Mothers is the first of two new books by Sara Hosey, associate professor of English and women and gender studies at Nassau Community College, Garden City, New York. Hosey has written extensively on identity and power issues and co-authored a reading and writing manual for college students (see, for example, Hosey and O’Connor; Hosey, “One of Us”; Hosey, “Canaries and Coalmines”). Her newest work is the novel Iphigenia Murphy, whose teenage protagonist escapes from an abusive home and sets up a better one in a park. There, despite dangers and fallout from past traumas, Iffy and her “misfit” friends can be themselves, and Iffy finds herself. Hosey explains how the inspiration for Iffy’s story came to her as she worked on Home Is Where the Hurt Is: “Home ... is centrally concerned with the ways girls and women are often depicted in popular culture. And ... I ... found that I wanted to participate in the creation of that culture ... dramatiz[ing] some of the issues that many girls and women must grapple with ... [but also] the healing power of female friendship and support. My characters are not perfect people, but I did try to write the kinds of characters, male and female, that I’d like to see more of in popular culture” (qtd. in De Feo). While no one can predict how many adolescent fans of Iphigenia Murphy will eventually (perhaps in college) read Home Is Where the Hurt Is, Home surely deserves a thoughtful, appreciative audience. Chapters one through five focus on “hurt,” in particular, media depictions of wives and mothers that “address troubling realities at the same time as they fall back on outmoded, limited understandings of gender roles ... thus naturalizing women’s oppression” (7). Chapter one traces narratives about women who are trapped in their own homes, frustrated by their plight, and generally unable to free themselves. They include women whose doctors demand they hunker down to safeguard their pregnancies— never mind that Jules (What to Expect When You’re Expecting) is a fitness expert, or that a demonic ghost spawned one of Vivien’s “twins” (“Murder House,” American Horror Story). Whereas Jules becomes reconciled to her plight and so becomes a happier wife, Vivien and her family end up dead, yet together and content (!). The widowed Amelia in The Babadook, stifled by maternal duties, becomes demonically possessed; her son forcefully defeats—though he cannot kill—the monster and reclaims Amelia through love. In Precious, the title character is stuck at home with her villainous mother and repeatedly raped by her biological father; the film ends on a half-hopeful note as Precious, aware she can at least “make [limited] choices” (34), departs forever with her two young children. And in the Bad Moms comedies, overwhelmed middle-class mothers harmlessly blow off steam and thus become better parents. Their common theme of entrapment notwithstanding, these stories all end by affirmi","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"4 1","pages":"62 - 63"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74662791","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/01956051.2020.1868922
H. Humann
{"title":"SMALL SCREEN, BIG FEELS: TELEVISION AND CULTURAL ANXIETY IN THE TWENTY-FIRST CENTURY By Melissa Ames. U of Kentucky P, 2020. 300 pp. $50 hardcover.","authors":"H. Humann","doi":"10.1080/01956051.2020.1868922","DOIUrl":"https://doi.org/10.1080/01956051.2020.1868922","url":null,"abstract":"","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"8 1","pages":"66 - 67"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77711494","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/01956051.2020.1868914
Claire Meldrum
{"title":"APOCALYPTIC VISIONS IN 21ST CENTURY FILMS. By Elizabeth A. Ford and Deborah C. Mitchell. McFarland Press, 2018. 229 pp. $49.95 paper.","authors":"Claire Meldrum","doi":"10.1080/01956051.2020.1868914","DOIUrl":"https://doi.org/10.1080/01956051.2020.1868914","url":null,"abstract":"","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"55 1","pages":"63 - 64"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86859761","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/01956051.2020.1868916
K. Flanagan
{"title":"THE STYLE OF SLEAZE: THE AMERICAN EXPLOITATION FILM, 1959–1977. By Calum Waddell. University of Edinburgh Press, 2019. 224 pp. $29.95 softcover.","authors":"K. Flanagan","doi":"10.1080/01956051.2020.1868916","DOIUrl":"https://doi.org/10.1080/01956051.2020.1868916","url":null,"abstract":"","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"96 1","pages":"65 - 66"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87698784","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/01956051.2020.1772710
Chris Yogerst
Abstract: Over the years, critics and historians have come back to Elia Kazan’s A Face in the Crowd periodically and with varying enthusiasm. This essay will show how the film’s influence of real-world media manipulators has increased its power and has renewed relevance in the digital era.
{"title":"A Face in the Crowd (1957): History and Relevancy, from the Dawn of Television to the Digital Age","authors":"Chris Yogerst","doi":"10.1080/01956051.2020.1772710","DOIUrl":"https://doi.org/10.1080/01956051.2020.1772710","url":null,"abstract":"Abstract: Over the years, critics and historians have come back to Elia Kazan’s A Face in the Crowd periodically and with varying enthusiasm. This essay will show how the film’s influence of real-world media manipulators has increased its power and has renewed relevance in the digital era.","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"31 1","pages":"16 - 29"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81424359","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/01956051.2020.1769018
Savaş Arslan, T. Teti̇k
ABSTRACT: Turkish television has undergone a transformation in recent decades due to the rising global popularity of Turkish series; the proliferation of viewership; and the introduction of cable, digital, online, and OTT (over-the-top) platforms. The result has been increasingly higher-quality TV content. This article traces the history of Turkish television with a look at how the Turkish television-series market has evolved into one which produces globally marketed content and how the discourses on quality TV informed such developments. The article also demarcates the history of television in Turkey into three different phases by underlining major changes and by proposing a novel periodization. Then, the contemporary rendering of “quality” is illustrated through a six-season-long, hit crime drama series, Sıfır Bir: Bir Zamanlar Adana’da (Zero One: Once Upon a Time in Adana, 2016–2019). The article argues that while the first two seasons of the series illustrate an independent, low-budget Web production based on a true story, after a transitional third season, the final three seasons feature an institutionalized “quality” drama on a national OTT platform at the expense of its earlier authenticity and naturalism.
摘要:近几十年来，由于土耳其电视剧在全球的流行，土耳其电视经历了一次转型;观众的激增;有线、数字、在线和OTT (over-the-top)平台的引入。其结果是电视内容的质量越来越高。本文追溯土耳其电视的历史，看看土耳其电视连续剧市场如何演变成一个生产全球营销内容的市场，以及关于高质量电视的话语如何告知这种发展。文章还通过强调主要变化和提出新颖的分期，将土耳其电视史划分为三个不同的阶段。然后，通过一部长达六季的热门犯罪剧Sıfır Bir: Bir Zamanlar Adana 'da (Zero One: Once Upon a Time in Adana, 2016-2019)来说明“质量”的当代呈现。文章认为，虽然该剧的前两季是一部基于真实故事的独立低成本网络制作，但在过渡的第三季之后，最后三季是一部在国家OTT平台上制度化的“高质量”电视剧，代价是它之前的真实性和自然主义。
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