Divided duties
Diasporic subjectivities and ‘race relations’ dramas (Supply and Demand, The Bill, Second Generation)
in Beyond representation
Abstract only
Get Access to Full Text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Access Tokens

If you have an access token for this content, you can redeem this via the link below:

Redeem token

This chapter explores whether or not British television crime drama could be said to be ‘inherently racist’ on the level of form as well as representation. It begins with a discussion of the problematic concept of ‘race’ and explores the developments in thinking around issues of representation within anti-racist and postcolonial theory. It covers the rejection of realism as part of an attempt to get beyond simple positive or negative representations of subaltern groups, and the subsequent development of theories of cultural hybridity and diaspora aesthetics. While examining these latter concepts this chapter also explores their potential recuperation and depoliticisation as part of a more generalised and abstracted postmodern aesthetic. It concludes with a brief evaluation of some twenty-first-century British television dramas that might be said to show evidence of a diaspora aesthetic.

Beyond representation

Television drama and the politics and aesthetics of identity

INFORMATION
TABLE OF CONTENTS
METRICS

Metrics

All Time Past Year Past 30 Days
Abstract Views 23 11 0
Full Text Views 18 6 0
PDF Downloads 8 3 0
RELATED CONTENT