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Queer As Folk and the geo-ideological inscription of gay sexuality
Peter Billingham

This chapter explores the ways in which, within a geo-ideological analysis of the controversial Channel 4 drama series Queer As Folk, one may view fundamental issues regarding the politics of the representation of gay sexuality. Queer As Folk had its first broadcast in 1999-2000 on Channel 4 television, screened in eight hour-long episodes. A crucial incident in the exploration of the tensions between confrontational and assimilationist strategies comes in the penultimate episode of the second series relating to a secondary character called Alexander. Alexander is constructed in such a way that he embodies the stereotypical attributes of camp, 'feminised' homosexuality. The use of a popular cultural colloquialism, 'kinky sex', is deliberately, ironically provocative. From a dominant reactionary, heterosexual viewing position, homosexuality in and of itself may be viewed as a profoundly disturbing 'kink' or deviation of sexual imagination, conduct and practice.

in Popular television drama
Abstract only
Jonathan Rayner

The recreation of the Australian film industry in the 1970s and its subsequent survival on economic and aesthetic terms have been inseparable from debate over sources of finance. The reception and encouragement of the period film cycle has been taken as evidence of a regimentation of treatment in the service of a primary political objective. This is to define and broadcast an expedient, respectable and marketable form of Australian identity at a crucial moment in the development of national consciousness. The groups of films addressed in this book have been categorised by critics or have aligned themselves with generic patterns, in response to their maker's intentions and their audience's expectations. Stereotypical representations of Australian masculinity are found in The Overlanders, They're A Weird Mob and Crocodile Dundee. These representations strive to designate the white, classless, individualistic male as the archetypal Australian, defined strictly by or in relation to outsiders.

in Contemporary Australian cinema
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Helen Wheatley

This conclusion presents some closing thoughts on the concepts covered in this book. The book examines the dialogue between the textual domestic spaces of Gothic television and the extra-textual domestic spaces of the medium. In doing so, it argues that structures of identification are laid in place which render the Gothic on television as one of the most affective of genres. It is possible to look to the very fabric of the programmes in question to create a picture of the 'model viewer', who is 'recorded into' the texts of Gothic television. The recent bevy of supernatural serials on US television discussed in the book have a certain self-regenerative quality, guaranteeing that innovation and formal experimentation soon become repetitive and mundane. The anxieties surrounding the broadcast of Gothic television identified in the book might be seen as indicative of broader concerns around the propriety of television viewing as a whole.

in Gothic television
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Peter Hutchings

This conclusion presents some closing thoughts on the concepts discussed in this book. The book examines Terence Fisher as a director dependent on and at ease with the industrial and collaborative nature of film-making. Praised by David Pirie in the early 1970s as a Gothic auteur, he has since come to be seen as the reactionary face of British horror against which more radical and innovative approaches can be defined. The book presents Fisher as a more complex figure than this, as not entirely the auteur identified by Pirie but neither the wholly reactionary film-maker imagined by others. Isabel Cristina Pinedo has suggested that Hammer horror forms a transitional stage between 'classical horror' and more modern forms of horror. Fisher's horror films perhaps represent more clearly than other Hammer horrors some of the tensions and uncertainties involved in this transition.

in Terence Fisher
An introduction
Editor: Jonathan Rayner

This book offers introductory readings of some of the well-known and less well-known feature productions coming out of Australia since the revival in the national film industry at the end of the 1960s. The interpretations of the texts and the careers of their makers are considered in relation to the emergence of an indigenous film culture and the construction of national identity. The majority of the films examined in the book have had theatrical or video releases in the UK. The independent development of several indigenous film genres has been an important feature of recent production, and helped to punctuate and bracket the streams of feature production that have evolved since 1970. These Australian genres have been identified and evaluated (the Australian Gothic, the period film, the male ensemble film) and are worthy of consideration both in their own right and in their intersection with other conventionalised forms. These include science fiction, fantasy and horror in comparison with the Gothic, the heritage film and literary adaptation in connection with the period film, and the war film and rite of passage in relation to the male ensemble. More recently, an aesthetic and thematic trend has emerged in the examples of Strictly Ballroom, The Adventures of Priscilla, and Muriel's Wedding, which foregrounds elements of the camp, the kitsch and the retrospective idolisation of 1970s Glamour. Such chronological, stylistic and thematic groupings are important in the interpretation of national filmmaking.

Peter Marks

This chapter argues that all Terry Gilliam's films are exercises in hybrid textuality, but the dystopian form taken up in Brazil makes this his most overtly political work. Brazil initially is replete with utopian dreams, but as its protagonist Sam Lowry gains a better understanding of the dystopian reality, his dreams increasingly take on the dystopian tenor of that environment. Lowry's fantasies are critically analysed in terms of their narcissism and escapism, but even if we judge these negatively, he at least inhabits a more stimulating world than those around him. In Munchausen, by constructing the framework of the theatre around the tales themselves, Gilliam and Charles McKeown create a form of transitional space between the worlds of fantasy and reality. The Theatre Royal provides a space where fantasy can be presented, while serving as a refuge from the murderous reality of the besieged town that surrounds the audience.

in Terry Gilliam
Directions and redirections
Jonathan Bignell and Stephen Lacey

This conclusion presents some closing thoughts on the concepts discussed in the preceding chapters of this book. The book provides critical insights into specific problems and topics and encourages readers to consider the breadth of, and different emphases within, Television Studies. The issues of whether there is more or less 'quality television' than there was, and the standards of taste and decency in television, have mostly been left to popular and journalistic opinion. The book highlights that the exploration of generic instability and stakes of genre as a delimiting and categorising force will continue to develop in work on the diverse television drama forms as contemporary urban drama, crime drama and the literary adaptation. It also addresses examples of television which are either widely known, still being broadcast or available through commercial or library sources in videotape form.

in Popular television drama
Jonathan Bignell and Stephen Lacey

This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book provides resources for critical thinking about key aspects of television drama in Britain since 1960, including institutional, textual, cultural and audience-centred modes of study. Helen Wheatley's analysis of Rebecca, The Wyvern Mystery and The Woman in White distinguishes the gendered concerns of the Gothic as a mode that encompasses literary and cinematic realisations of narratives that reflect on the politics of domesticity. The book emphasises the relationships between the television drama text and its contexts of production and viewing. It investigates how the programme's production and realisation negotiated the possibilities that television offered for realising both conventional 'pulp fiction' monster stories and the aspirational claims for 'serious' speculative and educational drama in science fiction.

in Popular television drama
Jonathan Bignell and Stephen Lacey
in Popular television drama
Jonathan Bignell and Stephen Lacey
in Popular television drama