Russian “Sitkom” Adaptation: The Pushkin Principle

Heller, Dana

doi:10.1080/01956050309603667

Cited by 12 publications

(8 citation statements)

References 5 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Such work has also recently been extending to the makeover genre itself (Kavka 2006;Bonner 2005;Lewis 2008;Heller 2006Heller , 2007. A second line of analysis might concern itself with a more historically and socially informed view of generic television remaking along the lines pioneered by Miller's (2000) study of British television programme adaptation in US television in the 1960s and Heller's (2003) discussion of US sitcom remakes in Russia in the 1980s and 1990s.…”

Section: Resultsmentioning

confidence: 99%

Makeover on the move: Global television and programme formats

Moran¹

2008

Continuum

View full text Add to dashboard Cite

Section: Resultsmentioning

confidence: 99%

Makeover on the move: Global television and programme formats

Moran¹

2008

Continuum

View full text Add to dashboard Cite

“…Heller also states that early attempts by Russian networks to produce their own sitcoms were not well received. According to her, two of the early post-Soviet sitcoms, Strawberry Café and Family Business, Funny Business, were commercial and critical failures (Heller, 2003). She notes that audiences and critics were particularly troubled by the shallowness of the plots and characters, and baffled by the presence of the laugh-track, an aspect of the genre they believed that even Americans must secretly hate.…”

Section: Palavras-chavementioning

confidence: 99%

“…Dana Heller (2003), in her concise account of the early days of sitcoms in Russia, recounts that, at first, the genre was introduced to Russian audiences in the form of American and British programs, from I Love Lucy to Friends, with Russian voiceovers. Heller also states that early attempts by Russian networks to produce their own sitcoms were not well received.…”

Section: Palavras-chavementioning

confidence: 99%

Russian Sitcoms: From Post-Soviet Copycats to Aspiring Global Players

Brassard

2017

Pacla

View full text Add to dashboard Cite

Russian sitcoms have gone through a series of rapid changes since their introduction following the end of the Cold War. The genre was initially met with skepticism in the post-Soviet period. Owing primarily to Russian culture's lack of familiarity with the genre early attempts to localize it failed to attract significant audiences. Only once the television channel STS, with significant help from Sony Pictures Television, began working to bring adapted American sitcoms to Russia did the genre start to resonate with viewers. The first popular sitcom on Russian television was an adaptation of CBS' The Nanny. The success of that series led to the production of numerous other similar programs. Since the early 2000s, Russian sitcoms have proceeded rapidly through three phases: localization, hybridization, and cultural odorlessness. This paper traces the development of the genre by examining three programs: My Fair Nanny, Daddy's Girls and The Kitchen. Each of these programs marks the beginning of a new phase in the development the Russian sitcom from localization, the creation of original Russian series and programs aimed at the global market for formats. The paper also looks at the role that STS and Sony bring the genre to Russia.

show abstract

“…Heller, 2003;Moran and Keane, 2003). Indeed, the TV format is now a crucial mechanism in regulating the recycling of program content across different television systems in the world (cf.…”

Section: The Tv Program Formatmentioning

confidence: 99%

“…However, in other markets shielded by language or other cultural barriers -such as, for example, those of Russia and India -adaptation certainly takes place in fiction (Thomas and Kumar, 2003;Heller, 2003;Iwabuchi, 2003). Adapting successful overseas programs (mostly from the United States or the United Kingdom) meant that local broadcasters and producers saved the expense of the relatively costly research and development (R&D) work involved in the first production of a successful TV program.…”

Section: The Tv Program Formatmentioning

confidence: 99%

Configurations of the New Television Landscape

Moran¹

A Companion to Television

View full text Add to dashboard Cite

IntroductionThe first years of the new millennium seems like an appropriate moment to suggest that a more nuanced engagement with the term "globalization" -as a means of understanding recent developments in the field of television -is increasingly called for. Hence, for example, as against those who would claim the irresistible and inevitable onset of worldwide interconnection in such areas as economics and culture, recent attention paid by television researchers to geolinguistic regions, "cultural continents," as significant mediators of such linkages gives pause to a term such as "globalization" as an accurate description of recent developments (cf. ). Similarly, we would argue that an understanding of the specific historical trajectory of the institution that is television along the lines developed here will also give pause to easy generalizations about planetary developments in the present.Thus, we would suggest that over the course of the past 10 to 15 years or so, television in many parts of the world finds itself in a new period or era that is marked off from earlier configurations of the institution (cf.

show abstract

Russian “Sitkom” Adaptation: The Pushkin Principle

Cited by 12 publications

References 5 publications

Makeover on the move: Global television and programme formats

Makeover on the move: Global television and programme formats

Russian Sitcoms: From Post-Soviet Copycats to Aspiring Global Players

Configurations of the New Television Landscape

Contact Info

Product

Resources

About