Advertisement

Introduction

  • Ruth McElroyEmail author
  • Caitriona Noonan
Chapter
  • 98 Downloads

Abstract

This book is a critical response to a moment of profound change in the production and distribution of television drama. Drama content is central to the strategic aspirations of broadcasters, independent production companies and policy-makers helping them to deliver on a range of economic, cultural and political goals. Our analysis foregrounds power and sustainability as two significant terms that merit sustained critique and which underpin contemporary television drama production. This chapter outlines the novel methodological approaches adopted when conducting the many years of original empirical research with television drama professionals which underpins this book’s contribution to the field. We offer a rich and in-depth analysis of contemporary television drama production in the UK, merging global and transnational trends with the enduring significance and value of local production.

Keywords

Television drama Production Distribution Public service broadcasting Empirical research Sustainability Value 

References

  1. Belfiore, Eleonora. ‘Cultural Policy Research in the Real World: Curating “Impact”, Facilitating “Enlightenment”’. Cultural Trends 25, 3 (2016): 205–216.CrossRefGoogle Scholar
  2. Bignell, Jonathan and Stephen Lacey (eds). British Television Drama: Past, Present and Future. 2nd edition. Basingstoke: Palgrave Macmillan, 2014.Google Scholar
  3. Blandford, Steve, Stephen Lacey, Ruth McElroy and Rebecca Williams. ‘Screening the Nation: Wales and Landmark Television’, Report for the BBC Trust/Audience Council Wales, 2010. http://culture.research.southwales.ac.uk/screeningthenation/.
  4. Chapman, James. Contemporary British Television Drama. I.B. Tauris, forthcoming.Google Scholar
  5. Collins, Richard. ‘The Language of Advantage: Satellite Television Is Western Europe’. Media, Culture and Society 11, 3 (1989): 351–371.Google Scholar
  6. Cooke, Lez. British Television Drama: A History. London: British Film Institute, 2003.Google Scholar
  7. Dhoest, Alexander and Nele, Simons. ‘Still ‘Watching’ TV? The Consumption of TV Fiction by Engaged Audiences’. Media and Communication 4, 3 (2016): 176–184.CrossRefGoogle Scholar
  8. Dunleavy, Trisha. Complex Serial Drama and Multiplatform Television. New York: Routledge, 2017.Google Scholar
  9. Dunleavy, Trisha. Television Drama: Form, Agency, Innovation. New York: Palgrave Macmillan, 2009.Google Scholar
  10. Forrest, David and Beth Johnson (eds). Social Class and Television Drama in Contemporary Britain. Basingstoke: Palgrave Macmillan, 2017.Google Scholar
  11. Hall, Tony. The Roscoe Lecture. Liverpool John Moores University, Thursday 2 November 2017. https://www.bbc.co.uk/mediacentre/speeches/2017/tony-hall-roscoe.
  12. Hammett-Jamart, Julia, Petar Mitric and Eva Novrup Redvall (eds). European Film and Television Co-production: Policy and Practice. Basingstoke: Palgrave Macmillan, 2018.Google Scholar
  13. Hesmondhalgh, David. ‘The Menace of Instrumentalism in Media Industries Research and Education’. Media Industries 1, 1 (2014). http://dx.doi.org/10.3998/mij.15031809.0001.105.
  14. Holt, Jennifer and Kevin Sanson (eds). Connected Viewing: Selling, Streaming and Haring Media in the Digital Era. London: Routledge, 2014.Google Scholar
  15. Hills, Matt, Michele Hilmes and Roberta Pearson (eds). Transatlantic Television Drama: Industries, Programs, and Fans. Oxford: Oxford University Press, 2019.Google Scholar
  16. IWA. Wales Media Audit 2015. Accessed 8 March 2019. https://www.iwa.wales/news/2015/11/iwa-wales-media-audit-2015/.
  17. Johnson, Catherine. Online TV. Oxon: Routledge, 2019.Google Scholar
  18. Lacey, Stephen and Ruth McElroy (eds). Life on Mars: From Manchester to New York. Cardiff: University of Wales Press, 2012.Google Scholar
  19. Lamb, Ben. You’re Nicked: A History of the British Television Police Series, 1955 to Today. Manchester: Manchester University Press, 2019.Google Scholar
  20. Lobato, Ramon. Netflix Nations: The Geography of Digital Distribution. New York: New York University Press, 2019.Google Scholar
  21. Lotz, Amanda. The Television Will Be Revolutionized. 2nd edition. New York: New York University Press, 2014.Google Scholar
  22. Lotz, Amanda. ‘Assembling a Toolkit’. Media Industries 1, 3 (2015). http://dx.doi.org/10.3998/mij.15031809.0001.304.
  23. McCabe, Janet. The West Wing. Detroit: Wayne State University Press, 2012.Google Scholar
  24. McCabe, Janet and Kim Akass (eds). Quality TV: Contemporary American Television and Beyond. London: I.B. Tauris, 2007.Google Scholar
  25. McCabe, Janet and Kim Akass (eds). TV’s Betty Goes Global: From Telenovela to International Brand. London: I.B. Tauris, 2012.Google Scholar
  26. McElroy, Ruth. (ed) Contemporary British Television Crime Drama: Cops on the Box. London: Routledge, 2017.Google Scholar
  27. McElroy, Ruth and Caitriona Noonan. ‘Television Drama Production in Wales: BBC Wales. Roath Lock Studios. A Report by the Centre for the Study of Media and Culture in Small Nations, 2015. http://culture.research.southwales.ac.uk/roathlockdrama/.
  28. McElroy, Ruth and Caitriona Noonan. ‘Television Drama Production in Small Nations: Mobilities in a Changing Ecology’. Journal of Popular Television 4, 1 (2016): 109–127.CrossRefGoogle Scholar
  29. McElroy, Ruth, Caitriona Noonan and Jakob Isak Nielsen. ‘Small Is Beautiful? The Salience of Scale and Power to Three European Cultures of TV Production’. Critical Studies in Television 13, 2 (2018): 169–187.CrossRefGoogle Scholar
  30. Mittell, Jason. Complex TV: The Poetics of Contemporary Television Storytelling. New York: New York University Press, 2015.Google Scholar
  31. Munro, Ealasaid. ‘Illuminating the Practice of Knowledge Exchange as a ‘Pathway to Impact’ Within an Arts and Humanities Research Council ‘Creative Economy Knowledge Exchange’ Project’. Geoforum 71, May (2016): 44–51. http://dx.doi.org/10.1016/j.geoforum.2016.03.002.CrossRefGoogle Scholar
  32. National Assembly for Wales. ‘Film and Major Television Production in Wales’. Inquiry. 2018. http://senedd.assembly.wales/mgIssueHistoryHome.aspx?IId=21238.
  33. Nelson, Robin. State of Play: Contemporary “High-End” TV Drama. Manchester: Manchester University Press, 2007.Google Scholar
  34. Piper, Helen. The TV Detective. London: I.B. Tauris, 2015.Google Scholar
  35. Polan, Dana. The Sopranos. Durham: Duke University Press, 2009.Google Scholar
  36. Raats, Tim, Tom Evens and Sanne Ruelens. ‘Challenges for Sustaining Local Audiovisual Ecosystems: Analysis of Financing and Production of Domestic TV Fiction in Small Media Markets’. Journal of Popular Television 4, 1 (2016): 129–147.Google Scholar
  37. Redvall, Eva Novrup. Writing and Producing Television Drama in Denmark: From The Kingdom to The Killing. Basingstoke: Palgrave Macmillan, 2013.Google Scholar
  38. Schlesinger, Philip. ‘The Creative Economy: Invention of a Global Orthodoxy’. Enjeux de l’Information et de la Communication 17, 2 (2016): 187–205.Google Scholar
  39. Stewart, Mark. ‘The Myth of Televisual Ubiquity’. Television & New Media 17, 8 (2016): 691–705.CrossRefGoogle Scholar
  40. Thornham, Sue and Tony Purvis. Television Drama: Theories and Identities. Basingstoke: Palgrave, 2005.CrossRefGoogle Scholar
  41. Toft Hansen, Kim and Anne Marit Waade. Locating Nordic Noir: From Beck to The Bridge. London: Palgrave Macmillan, 2017.Google Scholar
  42. Turnbull, Sue. The TV Crime Drama. Edinburgh: Edinburgh University Press, 2014.Google Scholar
  43. Waade, Anne Marit, Eva Novrup Redvall and Pia Majbritt Jensen (eds). Danish Television Drama: Global Lessons from a Small Nation. London: Palgrave Macmillan, forthcoming.Google Scholar

Filmography

  1. A Discovery of Witches (Bad Wolf 2018–present).Google Scholar
  2. Call the Midwife (Neal Street Productions/British Broadcasting Corporation 2012–present).Google Scholar
  3. Craith/Hidden (Severn Screen 2018–present).Google Scholar
  4. Derry Girls (Hat Trick Productions 2018–present).Google Scholar
  5. Doctor Who (BBC Wales 2005–present).Google Scholar
  6. Downton Abbey (Carnival Films/ITV Studios 2010–2015).Google Scholar
  7. Fall, The (Artists Studio/BBC Northern Ireland 2013–2016).Google Scholar
  8. Game of Thrones (Home Box Office (HBO)/ Television 360/ Grok! Studio/Generator Entertainment/Bighead Littlehead 2011–2019).Google Scholar
  9. Happy Valley (Red Production 2014–present).Google Scholar
  10. His Dark Materials (Bad Wolf/ British Broadcasting Corporation/New Line Cinema/Scholastic 2019–present).Google Scholar
  11. Life on Mars (Kudos Film and Television/ British Broadcasting Corporation/Red Planet Pictures 2006–2007).Google Scholar
  12. Outlander (Tall Ship Productions/Story Mining & Supply Co./Left Bank Pictures/Sony Pictures Television/Soundtrack New York 2014–present).Google Scholar
  13. Peaky Blinders (Tiger Aspect Productions 2013–present).Google Scholar
  14. Sex Education (Eleven 2019–present).Google Scholar
  15. Sherlock (Hartswood Films 2010–present).Google Scholar
  16. Shetland (BBC Scotland 2013–present).Google Scholar
  17. Sopranos, The (Home Box Office/Brillstein Entertainment Partners/The Park Entertainment 1999–2007).Google Scholar
  18. Spooks (Kudos Film and Television 2002–2011).Google Scholar
  19. Vera (ITV Studios 2011–present).Google Scholar
  20. West Wing, The (John Wells Productions/Warner Bros. Television 1999–2006).Google Scholar
  21. Y Gwyll/Hinterland (Fiction Factory 2015–present).Google Scholar

Copyright information

© The Author(s) 2019

Authors and Affiliations

  1. 1.Creative IndustriesUniversity of South WalesCardiffUK
  2. 2.School of Journalism, Media and CultureCardiff UniversityCardiffUK

Personalised recommendations