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TV Drama in the Multiplatform Era

Transnational Coproduction and Cultural Specificity

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  • © 2023

Overview

Editors:
  1. Trisha Dunleavy

    1. Media and Communication Programme, Te Herenga Waka/Victoria University of Wellington, Wellington, New Zealand

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  2. Elke Weissmann

    1. Department of English & Creative Arts, Edge Hill University, Ormskirk, UK

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    You can also search for this editor in PubMed   Google Scholar

  • This book foregrounds transnational coproduction in high-end dramas produced for TV’s multiplatform era
  • Its focus is non-US dramas coproduced with US-owned streaming services and created for international distribution
  • This book explores the capacity of transnationally coproduced TV drama to reflect elements of cultural specificity

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About this book

This edited collection examines a new phase in the creation of transnational high-end drama in television’s current multiplatform era. Fuelled by the wider international exposure that internet distribution has brought to TV shows, this phase for high-end drama is one of unprecedented budgets and costs, frequent transnational coproduction and increased cultural diversification. While this drama continues to be facilitated by national broadcasters, fuelling the above trio of influences upon it has been the commissioning activity of multinational subscription-video-on-demand (SVoD) providers. This book showcases leading examples of transnational TV drama, produced outside the US, yet involving collaboration with US-owned SVoDs. It foregrounds some new potentials for drama creation in the context of its strategic importance to providers as different as national broadcasters and multinational SVoDs. This book helps to explain why today’s high-end dramas are demonstrating new elements of cultural specificity despite their common objective to engage a diverse international audience.

Keywords

Table of contents (13 chapters)

  1. Front Matter

    Pages i-xiii
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  2. Multiplatform TV, the Cultural Diversification of High-End Drama, and New Coproduction Strategies

    • Trisha Dunleavy
    Pages 1-33

  3. Moving across Platforms and Cultures: From BBC to Syfy to Amazon Prime: The Adaptation of Philip K. Dick’s The Man in the High Castle

    • Richard Paterson
    Pages 35-56

  4. Netflix and Borgen: A Match Made in…?

    • Jakob Isak Nielsen
    Pages 57-79

  5. Magnífica 70: HBO’s Portrayal of the Brazilian Boca do Lixo Cinema

    • Maria Cristina P. Mungioli, Christian H. Pelegrini
    Pages 81-100

  6. British History from a Distance: Transnational and Intergenerational Framings of The Crown

    • Will Stanford Abbiss
    Pages 101-117

  7. It’s a Sin: Cross-Platform Coproduction, Cultural Specificity, and Conflicting Cultures

    • Trisha Dunleavy
    Pages 119-139

  8. Unseen Particles in Time: Co-producing Transcultural Memory as a Discourse of TV Legitimacy Within the Sky/HBO Miniseries TV Event, Chernobyl (2019)

    • Janet McCabe
    Pages 141-164

  9. Les de l’Hoquei/The Hockey Girls: From a Catalan Bachelor’s Degree Project to Netflix

    • Marta Lopera-Mármol, Ona Anglada Pujol, Manel Jiménez-Morales
    Pages 165-184

  10. Gender and the Youthification of German Television: Zeit der Geheimnisse/Holiday Secrets and Generational Change in High-End TV Drama

    • Elke Weissmann
    Pages 185-202

  11. Atiye/The Gift: Narrating Cultural Diversities as Spiritual Fantasy in an Authoritarian Climate

    • Deniz Zorlu
    Pages 203-222

  12. Freedom of Defection: The Representation of Ultra-Orthodox Jews and Netflix’s Unorthodox

    • Eik Dödtmann
    Pages 223-247

  13. Polish Culture? World on Fire, Transnational Coproduction and the Inscription of Cultural Specificity

    • Joanna Rydzewska, Elżbieta Durys
    Pages 249-271

  14. El Robo del Siglo/The Great Heist: Perpetuating False Territorial Dichotomies in Colombia?

    • Juan-Pablo Osman
    Pages 273-289

  15. Back Matter

    Pages 291-310
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Editors and Affiliations

  • Media and Communication Programme, Te Herenga Waka/Victoria University of Wellington, Wellington, New Zealand

    Trisha Dunleavy

  • Department of English & Creative Arts, Edge Hill University, Ormskirk, UK

    Elke Weissmann

About the editors

Trisha Dunleavy is Associate Professor of Media and Communication at Te Herenga Waka/Victoria University of Wellington, New Zealand. Her books include Ourselves in Primetime: A History of New Zealand Television Drama (2005), Television Drama: Form, Agency, Innovation (2009), and Complex Serial Drama and Multiplatform Television (2018). 


Elke Weissmann is Reader in Television and Film at Edge Hill University, Ormskirk, UK. She is the author of Transnational Television Drama (2012). She is ECREA editor for Critical Studies in Television and currently working on the British Academy-funded project ‘Transnational Television Drama in the Multiplatform Age’.

Bibliographic Information

  • Book Title: TV Drama in the Multiplatform Era

  • Book Subtitle: Transnational Coproduction and Cultural Specificity

  • Editors: Trisha Dunleavy, Elke Weissmann

  • DOI: https://doi.org/10.1007/978-3-031-35585-1

  • Publisher: Palgrave Macmillan Cham

  • eBook Packages: Literature, Cultural and Media Studies, Literature, Cultural and Media Studies (R0)

  • Copyright Information: The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerland AG 2023

  • Hardcover ISBN: 978-3-031-35584-4Published: 17 January 2024

  • Softcover ISBN: 978-3-031-35587-5Due: 17 February 2024

  • eBook ISBN: 978-3-031-35585-1Published: 16 January 2024

  • Edition Number: 1

  • Number of Pages: XIII, 310

  • Topics: Film/TV Industry, Film and TV Production

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