Pub Date : 2023-03-03DOI: 10.1177/17496020231161643
Trisha Dunleavy, E. Weissmann
In January 2023, yielding what was described as a “landmark moment for the creative industry in Wales” (Morris, 2023) it was announced that Netflix had purchased Welsh heist drama Dal y Mellt [Catch the Lightning] (S4C, 2023-present). This acquisition has further extended the already impressive linguistic diversity of Netflix’s TV drama catalogue, will be the first long-form drama on Netflix which was filmed entirely in Cymraeg (Welsh language), and it allows this Welsh drama and Cymraeg itself to reach a multinational audience (Morris, 2023). Since this acquisition occurred within just a few months of this drama’s S4C debut in October 2022, Netflix’s purchase of Dal y Mellt suggests a pleasing level of confidence in its potential to engage this streamer’s nearglobal audience. Although an acquisition rather than a full commission or coproduction for Netflix, this decision provides further evidence of the increasing cultural diversity and specificity of the high-end TV drama that is now on offer to international audiences and of the contributions of Netflix and other multinational premium providers to this development. Entitled ‘Cultural Diversity in Internationally Coproduced High-End Drama’ this themed issue examines an increasing flow of high-end drama productions being produced outside the US, often facilitated by means of transnational coproduction deals that entail full financing or co-financing from leading US-owned premium players. While TV drama continues to be facilitated and produced in traditional ways, and national broadcasters remain the mainstay for this, the most notable recent change, in terms of sustaining this flow of transnational high-end dramas, has been the increasing commissioning activity of multinational subscription video-on-demand (or SVODs), indicatively Netflix, Amazon Prime Video, HBO Max, and Disney+. As the TV drama case studies that comprise this
2023年1月，被称为“威尔士创意产业的里程碑式时刻”（Morris，2023），网飞宣布收购了威尔士抢劫剧《抓住闪电》（Dal y Mellt[Catch the Lightning]，S4C，2023至今）。此次收购进一步扩大了Netflix电视剧目录中本已令人印象深刻的语言多样性，这将是Netflix上第一部完全用Cymraeg（威尔士语）拍摄的长篇电视剧，并使这部威尔士电视剧和Cymreag本身能够接触到跨国观众（Morris，2023）。由于此次收购发生在该剧2022年10月S4C首播后的几个月内，网飞对Dal y Mellt的收购表明，网飞有信心吸引该流媒体近全球观众。尽管这是对Netflix的收购，而不是全额委托或联合制作，但这一决定进一步证明了目前向国际观众提供的高端电视剧的文化多样性和特殊性不断增加，以及Netflix和其他跨国优质提供商对这一发展的贡献。本期主题为“国际合拍高端戏剧中的文化多样性”，探讨了美国境外越来越多的高端戏剧制作，通常通过跨国合拍协议来促进，这些协议需要由美国领先的高端演员提供全额融资或共同融资。尽管电视剧继续以传统方式提供便利和制作，而国家广播公司仍然是这方面的支柱，但就维持跨国高端电视剧的流动而言，最近最显著的变化是跨国订阅视频点播（SVOD）的委托活动不断增加，例如Netflix、亚马逊Prime video、HBO Max，以及Disney+。作为电视剧案例研究的组成部分
{"title":"Cultural Diversity in Internationally Coproduced High-end Drama","authors":"Trisha Dunleavy, E. Weissmann","doi":"10.1177/17496020231161643","DOIUrl":"https://doi.org/10.1177/17496020231161643","url":null,"abstract":"In January 2023, yielding what was described as a “landmark moment for the creative industry in Wales” (Morris, 2023) it was announced that Netflix had purchased Welsh heist drama Dal y Mellt [Catch the Lightning] (S4C, 2023-present). This acquisition has further extended the already impressive linguistic diversity of Netflix’s TV drama catalogue, will be the first long-form drama on Netflix which was filmed entirely in Cymraeg (Welsh language), and it allows this Welsh drama and Cymraeg itself to reach a multinational audience (Morris, 2023). Since this acquisition occurred within just a few months of this drama’s S4C debut in October 2022, Netflix’s purchase of Dal y Mellt suggests a pleasing level of confidence in its potential to engage this streamer’s nearglobal audience. Although an acquisition rather than a full commission or coproduction for Netflix, this decision provides further evidence of the increasing cultural diversity and specificity of the high-end TV drama that is now on offer to international audiences and of the contributions of Netflix and other multinational premium providers to this development. Entitled ‘Cultural Diversity in Internationally Coproduced High-End Drama’ this themed issue examines an increasing flow of high-end drama productions being produced outside the US, often facilitated by means of transnational coproduction deals that entail full financing or co-financing from leading US-owned premium players. While TV drama continues to be facilitated and produced in traditional ways, and national broadcasters remain the mainstay for this, the most notable recent change, in terms of sustaining this flow of transnational high-end dramas, has been the increasing commissioning activity of multinational subscription video-on-demand (or SVODs), indicatively Netflix, Amazon Prime Video, HBO Max, and Disney+. As the TV drama case studies that comprise this","PeriodicalId":51917,"journal":{"name":"Critical Studies in Television","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-03-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42019359","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-30DOI: 10.1177/17496020231154462
James Walters
Those endorsing or opposing the development of television aesthetics scholarship have exhibited an admirable willingness to reflect upon the rationales and motivations for formulating value judgements. However, very little equivalent attention has been afforded to processes that occur within this area: how scholars conduct analysis and develop claims for achievement in television. In addressing this lack, the following article surveys some of the meanings that ‘criticism’ has encompassed in Television Studies, offering ‘aesthetic criticism’ as a useful term to describe the work of analysis and evaluation, before moving to a series of close readings of aesthetic criticism in practice.
{"title":"Finding words: Aesthetic criticism and television","authors":"James Walters","doi":"10.1177/17496020231154462","DOIUrl":"https://doi.org/10.1177/17496020231154462","url":null,"abstract":"Those endorsing or opposing the development of television aesthetics scholarship have exhibited an admirable willingness to reflect upon the rationales and motivations for formulating value judgements. However, very little equivalent attention has been afforded to processes that occur within this area: how scholars conduct analysis and develop claims for achievement in television. In addressing this lack, the following article surveys some of the meanings that ‘criticism’ has encompassed in Television Studies, offering ‘aesthetic criticism’ as a useful term to describe the work of analysis and evaluation, before moving to a series of close readings of aesthetic criticism in practice.","PeriodicalId":51917,"journal":{"name":"Critical Studies in Television","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2023-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82079937","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-30DOI: 10.1177/17496020221146057
Gary Edgerton
This institutional-industrial analysis evaluates how Netflix’s post-2016 rebranding efforts resulted in its ongoing transition from a centrally-managed multinational corporation, based mainly in Silicon Valley, to a more decentralised transnational operation with multiple interconnected headquarters worldwide. Utilising a blended macro-micro critical perspective, Netflix’s October 2015 debut in Spain is examined as an inflection point for this subscription video on demand (SVOD) change agent, Spain’s then-traditional TV infrastructure and the transnational television industry. Netflix’s eventual integration into the Spanish television landscape and its transnational distribution of La casa de papel [Money Heist] (2017–21) serve as a two-fold object lesson into how glocal relations occur during TVIV.
这份制度-产业分析评估了Netflix在2016年后的品牌重塑努力是如何使其从一家主要位于硅谷的中央管理跨国公司，转变为一家在全球拥有多个相互关联总部的更分散的跨国公司。本文运用宏观-微观-批判的混合视角，分析了Netflix 2015年10月在西班牙的首次亮相，作为订阅视频点播(SVOD)变革推手、西班牙当时的传统电视基础设施和跨国电视产业的拐点。Netflix最终融入西班牙电视领域，以及它的《金钱抢劫》(La casa de papel)(2017-21)的跨国发行，为TVIV期间全球关系的发生提供了双重对象教训。
{"title":"Netflix, Spanish television, and La casa de papel: Growing global and local TV together in the multiplatform era","authors":"Gary Edgerton","doi":"10.1177/17496020221146057","DOIUrl":"https://doi.org/10.1177/17496020221146057","url":null,"abstract":"This institutional-industrial analysis evaluates how Netflix’s post-2016 rebranding efforts resulted in its ongoing transition from a centrally-managed multinational corporation, based mainly in Silicon Valley, to a more decentralised transnational operation with multiple interconnected headquarters worldwide. Utilising a blended macro-micro critical perspective, Netflix’s October 2015 debut in Spain is examined as an inflection point for this subscription video on demand (SVOD) change agent, Spain’s then-traditional TV infrastructure and the transnational television industry. Netflix’s eventual integration into the Spanish television landscape and its transnational distribution of La casa de papel [Money Heist] (2017–21) serve as a two-fold object lesson into how glocal relations occur during TVIV.","PeriodicalId":51917,"journal":{"name":"Critical Studies in Television","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46485126","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-13DOI: 10.1177/17496020221146067
E. Stjernholm
This article addresses the role of television as a ‘new media’ in government public relations. Drawing on sociological theories on informalisation, this study analyses three features of the Swedish public information programme Anslagstavlan during the 1970s and 1980s: first, formal techniques such as editing, pacing and use of animations; second, narrative strategies including the utilisation of celebrity advertising and intertextuality; and last, the rhetoric of public information. The study shows that the engineering of informality was a key communication strategy for government agencies and that televised information contributed to the conversationalisation and personalisation of government agencies’ communication in medium-specific ways.
{"title":"Government public relations, audiovisual communication and the informalisation of Sweden","authors":"E. Stjernholm","doi":"10.1177/17496020221146067","DOIUrl":"https://doi.org/10.1177/17496020221146067","url":null,"abstract":"This article addresses the role of television as a ‘new media’ in government public relations. Drawing on sociological theories on informalisation, this study analyses three features of the Swedish public information programme Anslagstavlan during the 1970s and 1980s: first, formal techniques such as editing, pacing and use of animations; second, narrative strategies including the utilisation of celebrity advertising and intertextuality; and last, the rhetoric of public information. The study shows that the engineering of informality was a key communication strategy for government agencies and that televised information contributed to the conversationalisation and personalisation of government agencies’ communication in medium-specific ways.","PeriodicalId":51917,"journal":{"name":"Critical Studies in Television","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75011198","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-12DOI: 10.1177/17496020221136700
Amy C. Chambers
{"title":"Book Review: Television and the Genetic Imaginary","authors":"Amy C. Chambers","doi":"10.1177/17496020221136700","DOIUrl":"https://doi.org/10.1177/17496020221136700","url":null,"abstract":"","PeriodicalId":51917,"journal":{"name":"Critical Studies in Television","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78205335","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-12DOI: 10.1177/17496020221136715
Ryan Stoldt
{"title":"Book Review: Netflix and Streaming Video: The Business of Subscriber-Funded Video on Demand","authors":"Ryan Stoldt","doi":"10.1177/17496020221136715","DOIUrl":"https://doi.org/10.1177/17496020221136715","url":null,"abstract":"","PeriodicalId":51917,"journal":{"name":"Critical Studies in Television","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72635510","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-06DOI: 10.1177/17496020221136701
Júlia Havas
{"title":"Book Review: Independent Women: From Film to Television","authors":"Júlia Havas","doi":"10.1177/17496020221136701","DOIUrl":"https://doi.org/10.1177/17496020221136701","url":null,"abstract":"","PeriodicalId":51917,"journal":{"name":"Critical Studies in Television","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88166312","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-05DOI: 10.1177/17496020221136727
Bethan Jones
{"title":"Book Review: Watching Game of Thrones: How Audiences Engage with Dark Television","authors":"Bethan Jones","doi":"10.1177/17496020221136727","DOIUrl":"https://doi.org/10.1177/17496020221136727","url":null,"abstract":"","PeriodicalId":51917,"journal":{"name":"Critical Studies in Television","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88070820","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-05DOI: 10.1177/17496020221136714
Ipek A Celik Rappas
{"title":"Book Review: Down in Treme; Race, Place and New Orleans on Television","authors":"Ipek A Celik Rappas","doi":"10.1177/17496020221136714","DOIUrl":"https://doi.org/10.1177/17496020221136714","url":null,"abstract":"","PeriodicalId":51917,"journal":{"name":"Critical Studies in Television","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73850008","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-24DOI: 10.1177/17496020221141625
Kristina Pietaryte, Ana Cristina Suzina
This article investigates the equality of female representation in 2019 Global Original Netflix drama series by identifying trends of female representation across 82 series sample, assessing the quality of female representation in the most watched 2019 drama series and comparing analysis across British, American and International series. Overall, female representation in 2019 Netflix drama series conforms the existing literature on television studies concluding that women are underrepresented on-screen and behind-the-scenes.
{"title":"Female representation in Netflix Global Original programming: A comparative analysis of 2019 drama series","authors":"Kristina Pietaryte, Ana Cristina Suzina","doi":"10.1177/17496020221141625","DOIUrl":"https://doi.org/10.1177/17496020221141625","url":null,"abstract":"This article investigates the equality of female representation in 2019 Global Original Netflix drama series by identifying trends of female representation across 82 series sample, assessing the quality of female representation in the most watched 2019 drama series and comparing analysis across British, American and International series. Overall, female representation in 2019 Netflix drama series conforms the existing literature on television studies concluding that women are underrepresented on-screen and behind-the-scenes.","PeriodicalId":51917,"journal":{"name":"Critical Studies in Television","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81229896","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：