Search results

You are looking at 1 - 10 of 14 items for :

  • "TV spectacle" x
  • Refine by access: All content x
Clear All
Essays on the Jodie Whittaker era

This book explores a new cultural moment in the history of the BBC TV series, Doctor Who: the casting of a female lead. Following the reveal that Jodie Whittaker would be the thirteenth Doctor, the series has been caught up in media and fan controversies – has it become ‘too political’? Has showrunner Chris Chibnall tampered disastrously with long-running continuity? And has the regendered thirteenth Doctor been represented differently from her predecessors? Analysing Whittaker’s era – up to and including Doctor Who’s responses to 2020’s first lockdown – this edited collection addresses how the show has been repositioned as a self-consciously inclusive brand. Featuring brand-new interview material with those working on-screen (series regular Mandip Gill and guest star Julie Hesmondhalgh) and those operating behind the scenes in crucial roles (Segun Akinola, composer of the current theme and incidental music), Doctor Who – New Dawn focuses on how the thirteenth Doctor’s era of spectacular TV has been created, and how it has diversified representations of queerness, race, and family. Moving beyond the television show itself, chapters also address fan responses to the thirteenth Doctor via memes, cosplay, and non-Anglophone translation. Finally, this collection looks at how the new ‘moment’ of Doctor Who has moved into gendered realms of merchandising, the commercial ‘experience economy’, and a paratextual neo-gift economy of Covid-19 lockdown reactions that were created by previous showrunners alongside Chris Chibnall. A vigorous new dawn for Doctor Who calls for rigorous new analysis – and the thirteen chapters gathered together here all respond adventurously to the call.

Editor: Peter Goddard

This collection brings together work on forms of popular television produced within the authoritarian regimes of Europe after World War II. Ten chapters based on new and original research examine approaches to programming and individual programmes in Spain, Greece, Czechoslovakia, Romania, the Soviet Union and the GDR at a time when they were governed as dictatorships or one-party states. Rather than foregrounding the political economy of television or its role as an overt tool of state propaganda, the focus is on popular television-everyday programming that ordinary people watched. An editorial introduction examines the question of what can be considered ‘popular’ when audience appeal is often secondary to the need for state control. With familiar measures of popularity often absent, contributors adopt various approaches in applying the term to the programming they examine and in considering the reasons for its popularity. Drawing on surviving archives, scripts and production records, contemporary publications, YouTube clips, and interviews with producers and performers, its chapters recover examples of television programming history unknown beyond national borders and often preserved largely in the memories of the audiences who lived with them. Popular Television in Authoritarian Europe represents a significant intervention in transnational television studies, making these histories available to scholars for the first time, encouraging comparative enquiry and extending the reach – intellectually and geographically – of European television history.

Abstract only
Modes of TV spectacle in the Jodie Whittaker era of Doctor Who
Dene October

– as part of the historical suspicion of the media – assumed to pacify viewers. In this chapter, I consider how TV spectacle has been theorized before identifying three discrete modes where, I argue, televisual spectacle enhances audience engagement. These three modes of visual spectacle activate: contemplation of setting; curiosity and criticality of content, and (through recognition of diversity) personalized viewing pleasures. My focus on viewer agency is intended to recognize how TV can be understood as a dispersal

in Doctor Who – New Dawn
Spectacle and Spanish identity during Franco’s dictatorship
Juan Francisco Gutiérrez Lozano

2 Football and bullfighting on television: Spectacle and Spanish identity during Franco’s dictatorship Juan Francisco Gutiérrez Lozano The aim of this chapter is to analyse how television in Spain during the 1960s, controlled by the dictatorship of Francisco Franco, used popu­ lar entertainments such as football and bullfighting to gain popular acceptance and to feed the patriotic sentiment encouraged by Francoist propaganda. After addressing the characteristics of the Televisión Española (TVE) model as a state-controlled channel, these pages will explain how

in Popular television in authoritarian Europe
John M. MacKenzie

irrelevant to the lives of most people in Britain, this was the end of empire as a rather agreeable ‘docu-soap’, a television spectacle that had positive rather than negative resonances. Even in an act of departure and decline, the British could put on a ‘good show’. So a few islands are left, in the Caribbean, the Atlantic and the Pacific, together with the ever-anomalous Gibraltar. There are

in British culture and the end of empire
Between old and new media
Maurice Roche

2012). Also the Table reminds us that this media–sport symbiosis is a global and not just a Western phenomenon. It shows us the geographic and economic range of variation in the commercial valuations of the Olympic mega-event as television spectacle and programming. So it records the differential range of fee income from television companies in world regions which roughly relate to the Continental Associations which make up the Olympic organisational structure. The Continental Associations are Africa, America (North and South), Asia (including the Middle East

in Mega-events and social change
Josette Wolthuis

. 8 Ellis theorised that whereas cinema invites the viewer to attentively ‘gaze’ at the screen, television ‘engages the look and the glance rather than the gaze’ ( 1982 : 128). This and Williams's concept of flow have been much debated but are still responsible for the idea of television as competing with cinema. Wheatley ( 2016 ) has taken Caldwell's correctives of ‘glance theory’ as the point of departure for her discussion of television spectacle. See Britton and Barker ( 2003 ) for a critique of television as only

in Substance / style
Complicating simplicity in Doctor Who
Benedict Morrison

than the squarer ratio of the television frame, announcing its status as spectacle. 5 8.2 Doctor Who : Widescreen television spectacle in ‘The Gunfighters’. The following rhythmic exchange between Masterson

in Complexity / simplicity
Joseph Oldham

Kennedy Martin, the larger creative role given to the director saw a partial dilution of the assumption that television was predominantly a writer’s medium. Edge of Darkness, along with other prestige dramas of the time, embraced the other strand of televisuality identified by Caldwell, that of the ‘cinematic’, which ‘brought to television spectacle, high-production values, and feature-style cinematography’.32 Shot entirely on 16mm film with extensive location shooting and expressive lighting design, this is a far more integrated style of televisuality by comparison

in Paranoid visions
Robin Nelson

viewing experience comprises a numbing mindlessness. Caldwell, in contrast, recognises that in recent years ‘cinema brought to television spectacle, high production values and feature-style cinematography’ (1995: 12) and ‘points to the fundamental role that style plays in facilitating distinction’ (1995: 20). He goes so far as to question the doxa of glance theory (see 1995: 25–26) and posits that television viewers are knowledgeable about the medium and that some watch with the intensity of the cinematic gaze, perhaps with even greater intensity, since ‘film is a one

in State of play