Pub Date : 2023-10-26DOI: 10.1177/17496020231208049
Richard Hewett
A notable feature of Channel 4’s scheduling in the 1980s was the extent to which it drew upon repeats of archive television, long-unseen US and UK sitcoms and cult dramas either providing a nostalgic reminder of yesteryear or being discovered afresh by new generations. In addition, the themed archive evenings that began at Christmas 1982, culminating in 1992's extensive TV Heaven season, now seem prescient in an era when digital channels such as GOLD, Yesterday, Dave and Talking Pictures TV draw extensively upon the archive to compile their schedules. Channel 4’s use of archive programming receives little attention in academic histories, aside of Maggie Brown’s dismissal of its repeats as ‘tellyfilla’. This article redresses the balance, drawing upon publicity material from Channel 4’s press packs, research into patterns of repeats and original interviews with those involved in the curatorial process to investigate the extent to which Channel 4’s decision to revisit the archives was born of economic pragmatism, or was in fact a conscious act of contextualisation, re-evaluation and revalorisation.
{"title":"Television will archive itself: Channel 4’s role in revalorising ‘old’ TV","authors":"Richard Hewett","doi":"10.1177/17496020231208049","DOIUrl":"https://doi.org/10.1177/17496020231208049","url":null,"abstract":"A notable feature of Channel 4’s scheduling in the 1980s was the extent to which it drew upon repeats of archive television, long-unseen US and UK sitcoms and cult dramas either providing a nostalgic reminder of yesteryear or being discovered afresh by new generations. In addition, the themed archive evenings that began at Christmas 1982, culminating in 1992's extensive TV Heaven season, now seem prescient in an era when digital channels such as GOLD, Yesterday, Dave and Talking Pictures TV draw extensively upon the archive to compile their schedules. Channel 4’s use of archive programming receives little attention in academic histories, aside of Maggie Brown’s dismissal of its repeats as ‘tellyfilla’. This article redresses the balance, drawing upon publicity material from Channel 4’s press packs, research into patterns of repeats and original interviews with those involved in the curatorial process to investigate the extent to which Channel 4’s decision to revisit the archives was born of economic pragmatism, or was in fact a conscious act of contextualisation, re-evaluation and revalorisation.","PeriodicalId":51917,"journal":{"name":"Critical Studies in Television","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134908381","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 : 2023-09-30DOI: 10.1177/17496020231201083
James Lyons
This article examines the sitcom Party Down (2009-10) one of the first shows commissioned by the US premium cable service Starz as it sought to compete with HBO and Showtime, but cancelled after two seasons due to low ratings. Reports in 2021 of plans for its return characterised it as a ‘cult TV’ show revived due to fan demand. Yet by analysing its original production contexts and its aesthetic attributes the article argues that it is best understood as a proto-typical instance of ‘indie TV,’ aligned with Starz' strategic positioning in relation to its indie-oriented subscriber base at that time.
{"title":"‘Are we having fun yet?’: The Starz television network and <i>Party Down</i> as indie TV","authors":"James Lyons","doi":"10.1177/17496020231201083","DOIUrl":"https://doi.org/10.1177/17496020231201083","url":null,"abstract":"This article examines the sitcom Party Down (2009-10) one of the first shows commissioned by the US premium cable service Starz as it sought to compete with HBO and Showtime, but cancelled after two seasons due to low ratings. Reports in 2021 of plans for its return characterised it as a ‘cult TV’ show revived due to fan demand. Yet by analysing its original production contexts and its aesthetic attributes the article argues that it is best understood as a proto-typical instance of ‘indie TV,’ aligned with Starz' strategic positioning in relation to its indie-oriented subscriber base at that time.","PeriodicalId":51917,"journal":{"name":"Critical Studies in Television","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136280162","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 : 2023-09-26DOI: 10.1177/17496020231202511
Enric Castelló
This article analyses rural representations in the documentary series Ruralitas (2020) on the Spanish TVE. The programme shows that the people living in the countryside have agency and do not conform to common rural stereotypes. Nevertheless, the stories flirt with ideas of the ‘rural idyll’ by focusing on the beauty of the landscape and traditional rural versus urban binaries. However, the series also develops what the author names an agentic rural. The agentic rural not only empowers countryside dwellers and portrays self-determined destinies in the countryside, but also highlights problems associated with depopulation.
{"title":"Voices from the emptiness. Developing the <i>agentic rural</i> on Spanish television","authors":"Enric Castelló","doi":"10.1177/17496020231202511","DOIUrl":"https://doi.org/10.1177/17496020231202511","url":null,"abstract":"This article analyses rural representations in the documentary series Ruralitas (2020) on the Spanish TVE. The programme shows that the people living in the countryside have agency and do not conform to common rural stereotypes. Nevertheless, the stories flirt with ideas of the ‘rural idyll’ by focusing on the beauty of the landscape and traditional rural versus urban binaries. However, the series also develops what the author names an agentic rural. The agentic rural not only empowers countryside dwellers and portrays self-determined destinies in the countryside, but also highlights problems associated with depopulation.","PeriodicalId":51917,"journal":{"name":"Critical Studies in Television","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134903723","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 : 2023-09-12DOI: 10.1177/17496020231201747
Ricardo Ramírez
The inclusion of four gay characters in the telenovela Casa de Muñecos (2018-9) was an event that, until then, had not taken place in any other Chilean telenovela. Through a qualitative textual analysis of these figures, this article argues that the programme has strengthened a neoliberal discourse of personal responsibility that makes gay men not only accountable for their own well-being but also for the well-being of others, as they are singled out as responsible for making the ‘right’ decisions that will contribute to the process of articulating a non-homophobic future in the country.
{"title":"A future without homophobia? Gay men and personal responsibility in the Chilean telenovela <i>Casa de Muñecos</i>","authors":"Ricardo Ramírez","doi":"10.1177/17496020231201747","DOIUrl":"https://doi.org/10.1177/17496020231201747","url":null,"abstract":"The inclusion of four gay characters in the telenovela Casa de Muñecos (2018-9) was an event that, until then, had not taken place in any other Chilean telenovela. Through a qualitative textual analysis of these figures, this article argues that the programme has strengthened a neoliberal discourse of personal responsibility that makes gay men not only accountable for their own well-being but also for the well-being of others, as they are singled out as responsible for making the ‘right’ decisions that will contribute to the process of articulating a non-homophobic future in the country.","PeriodicalId":51917,"journal":{"name":"Critical Studies in Television","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135826795","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 : 2023-09-12DOI: 10.1177/17496020231198596
Cathrin Bengesser
{"title":"Book Review: A European television fiction renaissance: Premium production models and transnational circulation","authors":"Cathrin Bengesser","doi":"10.1177/17496020231198596","DOIUrl":"https://doi.org/10.1177/17496020231198596","url":null,"abstract":"","PeriodicalId":51917,"journal":{"name":"Critical Studies in Television","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135879500","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 : 2023-09-12DOI: 10.1177/17496020231198595
Abigail Jenkins
{"title":"Book Review: TV snapshots: An archive of everyday life","authors":"Abigail Jenkins","doi":"10.1177/17496020231198595","DOIUrl":"https://doi.org/10.1177/17496020231198595","url":null,"abstract":"","PeriodicalId":51917,"journal":{"name":"Critical Studies in Television","volume":"91 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135825929","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 : 2023-09-12DOI: 10.1177/17496020231198598
Jamie Medhurst
{"title":"Book review: Television before TV: New media and exhibition culture in Europe and the USA, 1928–1939","authors":"Jamie Medhurst","doi":"10.1177/17496020231198598","DOIUrl":"https://doi.org/10.1177/17496020231198598","url":null,"abstract":"","PeriodicalId":51917,"journal":{"name":"Critical Studies in Television","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135826225","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 : 2023-09-12DOI: 10.1177/17496020231198597
Ruth A Deller
{"title":"Book Review: Special Issue of Journal of Popular Television on ‘Histories and new directions: Soap opera/serial narrative research’","authors":"Ruth A Deller","doi":"10.1177/17496020231198597","DOIUrl":"https://doi.org/10.1177/17496020231198597","url":null,"abstract":"","PeriodicalId":51917,"journal":{"name":"Critical Studies in Television","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135878817","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 : 2023-08-18DOI: 10.1177/17496020231196422
Hanne Bruun, Julie Münter Lassen
This article addresses the development of new scheduling practices within public service media (PSM) in the Nordic, focusing on DR and TV 2 in Denmark. These practices relate to in-house broadcaster-video-on-demand-services (BVoDs). Our findings show, first, that television’s time-structured identity and liveness are re-configured for a mainstream audience as opposed to the segmented audiences approach of the earlier multi-channel era. Second, we find that the public service identity and the benefits of being PSM natives are harnessed to help the survivability of PSM companies in the digital era.
{"title":"New scheduling strategies and production culture in public service television in the digital era: The case of DR and TV 2 in Denmark","authors":"Hanne Bruun, Julie Münter Lassen","doi":"10.1177/17496020231196422","DOIUrl":"https://doi.org/10.1177/17496020231196422","url":null,"abstract":"This article addresses the development of new scheduling practices within public service media (PSM) in the Nordic, focusing on DR and TV 2 in Denmark. These practices relate to in-house broadcaster-video-on-demand-services (BVoDs). Our findings show, first, that television’s time-structured identity and liveness are re-configured for a mainstream audience as opposed to the segmented audiences approach of the earlier multi-channel era. Second, we find that the public service identity and the benefits of being PSM natives are harnessed to help the survivability of PSM companies in the digital era.","PeriodicalId":51917,"journal":{"name":"Critical Studies in Television","volume":"17 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2023-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80170495","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}
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