Transnational Television Drama

Weissmann, Elke

doi:10.1057/9781137283948

Cited by 73 publications

(4 citation statements)

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“…Since the launch of PBS, British programmes have aired predominantly on PBS, along with a few niche cable channels, where they attracted a "relatively small, if elite, audience". 24 The long-running anthology PBS series Masterpiece (1971-present) for example, presents mini-series produced by the BBC, ITV, and Channel 4.…”

Section: T H E P O L I T I C a L E C O N O M Y O F A M E R I C A N A mentioning

confidence: 99%

“…30 Elke Weissmann similarly argues that, just as genre and showrunner feature into how we discern quality television from mindless entertainment, aesthetics and style are also "connected to traditions of discourses that constantly affirm hierarchies of value". 31 For some viewers in the U.K., Vicious may appear to be a low-budget filler programme out of step with the higher production values of some contemporaneous series. On PBS, however, the series' style may reference classic (and well-respected) single-set sitcoms, as well as traditional proscenium drawing room comedies and televised plays popular on the network, plays it is easy to imagine Jacobi and McKellen performing in.…”

Section: T H E P O L I T I C a L E C O N O M Y O F A M E R I C A N A mentioning

confidence: 99%

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A Vicious Viewership

Kies

2020

VIEW Journal

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This paper uses the series Vicious (2013–2016), which aired on the British network ITV and the American noncommercial network PBS, as a case study in transatlantic reception for LGBTQ content. I draw on critical reception for the series, the star personae of lead actors Derek Jacobi and Ian McKellen, and studies of American perceptions of British masculinities. The varied reception for the series, understood through the networks’ economic models and cultural constructions of masculinities, reveals how notions of “quality” and “social progress” change as canned television travels to different national contexts.

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Section: T H E P O L I T I C a L E C O N O M Y O F A M E R I C A N A mentioning

confidence: 99%

Section: T H E P O L I T I C a L E C O N O M Y O F A M E R I C A N A mentioning

confidence: 99%

A Vicious Viewership

Kies

2020

VIEW Journal

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“…Beacon Hill also represents a significant point of reference in the 'blip' that Weissmann has identified concerning the shift back to a more theatrical aesthetic on US television during the 1970s. 77 Moreover, it marks an interesting occurrence in the transformative moment concerning the 1970s 'ascendancy of the quality audience that is still the primary target of network programming and advertisers'. 78 As such, it deserves a more prominent place in accounts of US television history more broadly, and of CBS more specifically, for Beacon Hill was a significant programme during a season that proved to be a turning point for this network.…”

Section: Producing Beacon Hill: Knowledge Difference and Productive mentioning

confidence: 99%

The Unwitting Pioneer of Transatlantic Format Adaptation: Beryl Vertue

Knox¹

2019

Historical Journal of Film, Radio and Television

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This article explores the transatlantic work of Beryl Vertue (b. 1931), whose distinguished career includes selling the format for Till Death Us Do Part (BBC1, 1965-1975) and Steptoe and Son (BBC1, 1962-1974) to American television, as well as producing the Upstairs, Downstairs format adaptation Beacon Hill (CBS, 1975) in the USA. I map how her crucial involvement in the genesis of All in the Family (CBS, 1971-1979) and Sanford and Son (NBC, 1972-1977) has been neglected in existing accounts, which have tended to focus on Norman Lear. I contrast these with Vertue's own recollection, drawing out her role in the creation of these two seminal programmes. I then locate Vertue within a broader transatlantic movement of British television production personnel during the 1970s. I explore Vertue's decision-making process for Beacon Hill, a programme that deserves a more prominent place in accounts of US television history, not least because of its connections to discourses on quality. I uncover how her creative agency was informed by her difference and productive Otherness whilst also subject to tensions and limitations present within complex industrial structures. Informed by an original in-depth interview with Vertue, the article considers her an unwitting pioneer of transatlantic format adaptation.

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“…Nevertheless, Forbrydelsen arguably marked the real international breakthrough for DR production. Weissman (2012) highlights Forbrydelsen as Danish television drama's claim to fame in both the UK and internationally. It was a domestic success, and the series was quickly sold to many other countries-for instance, it was screened on ZDF in Germany already in 2008.…”

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confidence: 99%

The Showrunner’s Touch: The Killing Revisited

Gemzøe

2020

Nordic Noir, Adaptation, Appropriation

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The abstract is published online only. If you did not include a short abstract for the online version when you submitted the manuscript, the first paragraph or the first 10 lines of the chapter will be displayed here. If possible, please provide us with an informative abstract.This chapter studies the ways in which Nordic noir classic Forbrydelsen (DR 2007(DR -2012 was remade in the USA as The Killing (AMC/Netflix 2011-2014). The chapter argues that looking to the production and especially the adapting showrunner on the remake provides perspectives that have been overlooked in existing research on this particular adaptation process, and that using such a strategy may be key in studying other television series remaking processes as well. Concretely looking to the adapting showrunner's experiences and preferences may explain changes from character to plot level, including shedding new light on what has been read as "American" obsessions with psychological explanations and culturally based hostility toward bad motherhood. KeywordsAdaptation Remake Showrunner Authorship Forbrydelsen 1✉ 1 26/03/2020 15.45 e.Proofing | Springer Side 2 af 21 https://eproofing.springer.com/books_v3/printpage.php?token=OFYMQPOcnq_7clwifNhUXE-ts_kfSIGP0_CSd1iN4EReZhUNNsULnj1lUzFmfhmVThe killing This chapter studies the ways in which the Nordic noir classic Forbrydelsen (DR 2007(DR -2012 was remade in the USA as The Killing (AMC/Netflix 2011-2014). As a form of adaptation, the remake depends on the engagement of a key creative practitioner, who sees in the material potential for translation that will address a new audience. This chapter argues that the role of the showrunner is a role in which such engagement is meaningful. But the showrunner and his or her vision have been overlooked in existing research on the television adaptation process. Close analysis of the adapting showrunner's experiences and preferences may illuminate salient textual changes between texts. In the adaptation of Forbrydelsen to The Killing, such analysis helps explain changes in character and plot, while shedding new light on what has been read as an "American" obsession with psychological explanations and culturally based hostility toward bad motherhood (Hellekson 2014;Akass 2015). Further, the methodology and interpretive approach employed here may be suggestive for the study of other remake processes.

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Transnational Television Drama

Cited by 73 publications

References 0 publications

A Vicious Viewership

A Vicious Viewership

The Unwitting Pioneer of Transatlantic Format Adaptation: Beryl Vertue

The Showrunner’s Touch: The Killing Revisited

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