This introduction details the key conventions that define the police series genre, sets out a rationale for the book, identifies the key gaps in existing knowledge, and summarises the book’s structure. The methodology adopted merges feminist studies of television drama with theatre semiotics to discern how socio-economic changes to British society have been visually communicated through representations of the police station and domestic settings.
This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book considers memory as a specific framework for the study of popular film, intervening in growing debates about the status and function of memory in cultural life and discourse. It examines the relationship between official and popular history and the constitution of memory narratives in and around the production and consumption of American cinema. The book explores the political stakes of cinematic discourse in its production of national memory. It also examines the discursive and institutional apparatus that has come to support the memory of Classic Hollywood in British cultural life. The book also considers both the presence of music and colour in nostalgia films of the 1990s and the impact of digital and video technologies on the representational determinants of mediated memory.