Stock characters in entertainment television are well known to all of us: the wise old man, the nurturing mother, and the rebellious teenager evoke images in our mind, accompanied by a set of character traits and flaws. They are stereotypical depictions of societal roles, which help us navigate through the story and set up certain expectations.
FOX’s horror-comedy series Scream Queens is the latest addition to the canon of Ryan Murphy and Co.’s anthology television series, alongside FX’s American Horror Story (2011-present), and the upcoming American Crime Story (2016). Scream Queens, named after the sobriquet for a female horror icon, is a hyper-stylised, retro-pastiche of horror and slasher cinema from the 1970s and 1980s.
Doctor Who fans were perhaps expecting a slow 2015.
This paper aims to explore, and expand upon, a theme I recently raised at The Media Across Borders conference, Roehampton University (June, 2015), in relation to global television formats and the transnational. In particular, it aims to consider the concept (and in some respects, the term) of ‘Self-Exoticism’, its relationship to transnationalism, but more significantly, how it is represented and constructed in contemporary television.
In 1990, Charlotte Brunsdon wrote an article entitled ‘Problems with Quality’. It examined British television’s claims to quality and investigated in particular how specific genres and aesthetics were claimed by a number of commentators, including politicians, critics and academics, and professionals as ‘quality’. It sparked a particular, British debate about what quality might mean at a time that by others was perceived as a period of
This time last year I spent a fascinating day at the BBC with my colleague Paul Grainge interviewing members of staff responsible, in various ways, for BBC iPlayer.
I’ll always remember my initial reaction the first time I watched Absolutely Fabulous (BBC, 1992-2012). Edina Monsoon (played by co-creator Jennifer Saunders) and Patsy Stone (played by former model and co-star Joanna Lumley) appeared to be the rudest, crudest and strangest women I ever saw on television.
Network’s 12-disc collection *ITV 60: Celebrating Sixty Years of ITV * is a curious exercise. A compilation of 60 ITV programmes to mark the channel’s sixtieth anniversary, its selections derive from three separate sources.
So here’s a list of show titles for you: The X-Files, Twin Peaks, Prison Break, The A-Team, Hart to Hart, Gilmore Girls, Star Trek, Full House, and Magyver. Looking at it, you might think that this was a catalog of DVD box sets or, perhaps, the line-up for another one of those cable channels devoted entirely to reruns.
As I write, I’m on the road in Colombia from Barranquilla (see this impressive citizen journalist seeking to enter Shakira’s home there) to Cartagena de Indias, which Francis Drake briefly captured from the Spanish in 1586.
With recent debates and discussions surrounding the government’s Green Paper and the BBC’s Charter review (how the BBC should be funded; whether it distorts the market; if it should be self-regulated; and so on.) I have found it quite easy to become lost in arbitrary and abstract notions such as “value for money” based on my naturally biased consumption of BBC products and services.