Institutions and authorship
in Beckett on screen
Abstract only
Log-in for 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. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.

ACCESS TOKENS

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

Redeem token

This chapter takes a look at the institutional frameworks where Beckett gained access to television personnel and what his authorship meant to them. It identifies the role of the authorial signature in his television work, and notes that some of the programmes studied in this chapter were directed by Beckett himself. This chapter also evaluates Beckett's authorship in relation to the particular conflicts and divergent assumptions around authorship in television institutions.

Beckett on screen

The television plays

Metrics

All Time Past Year Past 30 Days
Abstract Views 25 10 3
Full Text Views 19 4 0
PDF Downloads 10 3 0