Israeli TV creators’ social justifications

Gozansky, Yuval; Lavie, Noa

doi:10.1080/15405702.2020.1868043

Cited by 2 publications

(7 citation statements)

References 23 publications

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“…The Israeli FTI are small and isolated given both the country's unique language -Hebrew, spoken only in Israeland its longstanding conflict with its Arab neighbors (Gozansky and Lavie, 2021). In recent years, Israel has become an exporter of a variety of television formats Establishedoutsider figuration across the world, including dramas, game shows and reality television (Oren and Shahaf, 2013).…”

Section: Methodsmentioning

confidence: 99%

“…Israeli films have also elicited appreciation overseas (Harris and Chyutin, 2021). Despite their success, however, the Israeli FTI are unpredictable and precarious [1] due to rapid organizational and financial changes, which reflect the neoliberal leanings of the CCI in many countries (Gozansky and Lavie, 2021).…”

Section: Methodsmentioning

confidence: 99%

“…Appendix 1 lists the participants by their professional roles and reported physical or mental impairments. In terms of occupational status, given the project-based nature of many productions in the Israeli FTI (Gozansky and Lavie, 2021), all the participants reported working mainly as freelancers, moving from one project to the next. All the participants see the FTI as the locus of their careers.…”

Section: Methodsmentioning

confidence: 99%

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Far from “Fauda”: creators with disabilities in an established-outsider figuration in the Israeli film and television industries

Kuna

2022

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PurposeAmple literature has demonstrated that workers in the creative industries are excluded in terms of gender, race and class. Fewer studies, however, have examined the career advancement challenges faced by creators with disabilities. Drawing on insights from the established-outsider theory, this study aims to fill this lacuna.Design/methodology/approachThe participants were 24 creators in the Israeli film and television industries (FTIs) contending with severe forms of mental or physical and sensory impairment. In-depth semi-structured interviews were conducted to explore practitioners’ conceptions of the challenges they face in making careers in the FTI, as well as how they contend with these challenges.FindingsIntergroup dynamics yield an established-outsider figuration that situates creators with disabilities in a marginal occupational position in the FTI. Creators with disabilities' lack of access to networks of prominent creators place them in a disadvantageous position in the ongoing struggles over scarce resources in the FTI. The structural features of the FTI, which are intertwined with the social mechanisms of stigmatization and exclusion, make it difficult to breach any figuration once established. In defiance of their occupational figuration, creators with disabilities utilize two tactics aimed at professional advancement: hyper-meritocracy and advocacy. These tactics yield only partial success.Research limitations/implicationsThis study does not represent the voices of decision-makers in the film and television industries in Israel.Practical implicationsImplications are suggested regarding the role of culture funds as well as policymakers in advancing workforce diversity and opportunity in the film and television industries.Originality/valueThis study addresses covert and unspoken barriers to equality in the creative workforce. The findings also shed light on the impact of the COVID-19 pandemic on workforce diversity and opportunity in the FTI.

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Section: Methodsmentioning

confidence: 99%

Section: Methodsmentioning

confidence: 99%

Section: Methodsmentioning

confidence: 99%

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Far from “Fauda”: creators with disabilities in an established-outsider figuration in the Israeli film and television industries

Kuna

2022

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“…Scholars have pointed out that this approach to cultural production fails to account for the pervasiveness of the cultural industry today (Gozansky and Lavie, 2020;Mittell, 2020). Hesmondhalgh (2006) notes in particular that art and commerce are not as contradictory as Bourdieu makes them out to be.…”

Section: The Value Of Quality Televisionmentioning

confidence: 99%

“…Mittell (2020) explores these issues in his study of the prestige US drama Better Call Saul (2015-) by discussing the extent to which the overtly commercial strategy of the spinoff -which is built on the framework of an existing franchise -can produce a work of art. More explicitly, Lavie (2015) and Gozansky and Lavie (2020) report that producers are expected to fulfill traditional understandings of quality, such as experimenting with aesthetics and authenticity, but within the constraints of capitalism and the industry's financial structure. In such research, scholars present case studies of efforts to balance the demands between art and commerce as examples of the construction of quality.…”

Section: The Value Of Quality Televisionmentioning

confidence: 99%

Better than television: The rise of Korean web dramas

Kang

2021

International Journal of Cultural Studies

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The web dramas produced and consumed in South Korea are a short, serialized form of content produced specifically for mobile viewing platforms. Through discursive analysis, this article examines the positioning of web dramas as a step in the evolution of television and finds that they have been legitimized as a higher-quality form than television drama because of their economic potential. To begin with, web dramas have the potential to generate synergistic economic effects impacting other areas of culture, such as tourism, television, and webtoons. Second, web dramas have been represented as the best strategy for tapping into the vast Chinese market, especially during periods in which strained political relations between Korea and China prevented the export of television dramas. Moreover, web dramas have been optimized for mobile platforms through experimentation with aesthetics and topics in ways that have not been possible for television dramas. Thus, web dramas offer a window into the relationship between perceptions of quality and commercial profitability.

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Israeli TV creators’ social justifications

Cited by 2 publications

References 23 publications

Far from “Fauda”: creators with disabilities in an established-outsider figuration in the Israeli film and television industries

Far from “Fauda”: creators with disabilities in an established-outsider figuration in the Israeli film and television industries

Better than television: The rise of Korean web dramas

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