Journal of Popular Television, The最新文献

{"title":"Television music curation in the playlist era","authors":"Max Kaplan","doi":"10.1386/jptv_00106_1","DOIUrl":"https://doi.org/10.1386/jptv_00106_1","url":null,"abstract":"Today’s technologically eclectic media landscape – dominated by streaming algorithms, curated playlists and TikTok-spawned virality – has elevated the role of the television music supervisor. Film and television soundtracks, previously influenced by mixtapes and compilation CDs, have become inexorably shaped by the rise of streaming. Digging the infinite crates of the internet for rare and recycled tracks from yesterday and today, music supervisors for shows like High Fidelity (2020), The Bear (2022–present), Atlanta (2016–22) and Russian Doll (2019–present) have sculpted distinct sonic identities that grab viewers on-screen and retain their attention through their ‘Official Spotify Playlists’. This article traces the possibilities of the soundtrack in the playlist era through case studies of HBO’s eclectic anthology series High Maintenance (2012–20), as well as the unprecedented resurgence of Kate Bush via Netflix’s Stranger Things (2016–present).","PeriodicalId":191144,"journal":{"name":"Journal of Popular Television, The","volume":"17 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139293031","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Serial characterization as a feminist ethics of care in Better Call Saul","authors":"Evan Thomas, Erica Haugtvedt","doi":"10.1386/jptv_00105_1","DOIUrl":"https://doi.org/10.1386/jptv_00105_1","url":null,"abstract":"We pursue the consequences of temporal complexity for character development in Better Call Saul (2015–22). We advance this argument by attempting an Aristotelian reading of Better Call Saul but then show some of the deficits that follow from transferring this methodology from theatrical to serialized televisual character. Following this, we highlight some of the deficits of a judgemental approach to character that appear within the narrative of Better Call Saul, and we propose instead to understand serialized character development ateleologically. This distinction introduces the relevance of a feminist ethics of care, which we believe provides a more relevant frame for the moral evaluation of serialized character. In contrast to the absolutism of universal principles, a feminist ethics of care orients one to understand those for whom one cares in ‘relational contexts’ that emphasize specific, material and concrete conditions. This dichotomy between judgement and care is dramatized within Better Call Saul through the interpretations that two characters bring to an extended deceit. Just as the discursive and diegetic complexity of the series prompts viewers to continually re-frame and re-evaluate Jimmy McGill, Jimmy likewise regularly uses a similar move of misdirection during his scams in which he invites other characters’ judgement about one aspect of his performance while accomplishing his actual goal by other means. Jimmy routinely invites judgement through taking on personae that he ultimately discards, reserving and preserving evaluation of his authentic motivations in continual acts of deferral. If Jimmy is ever rehabilitated, he arrives at such a possibility through an authentic confession directed towards the person who has cared most for him, Kim Wexler. Ultimately, we believe that Better Call Saul uses the structure of its serialized discourse to endorse the moral attention and responsiveness that are characteristic of a feminist ethic of care, rather than a system of characterization based on a teleological, final judgement that sees character from an endpoint looking backwards.","PeriodicalId":191144,"journal":{"name":"Journal of Popular Television, The","volume":"61 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139297459","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Conceptualizing the ‘hook’ in K-drama: Racial segregation and unity in media consumption among multiracial Malaysian youth before and after Hallyu 1.0","authors":"F. Loo, F. Loo","doi":"10.1386/jptv_00108_1","DOIUrl":"https://doi.org/10.1386/jptv_00108_1","url":null,"abstract":"Since the phenomenon of Hallyu 1.0, Korean transnational popular culture has caught the attention of scholars worldwide, sparking discussions about soft power, gender, media consumption, and fandom in countries from the East to the West. However, there is a lack of studies on multiracial Malaysian youths’ consumption of South Korean transnational popular culture, as highlighted by the onset of trendy K-dramas. This study focuses on the shift from highly segregated, ethnic-based media consumption to a more unified consumption of East Asian television drama productions by reviewing trends of media consumption before and after Hallyu in Malaysia, and highlights the impact of Korean soft power in Malaysia in the form of a new hybridized trendy drama. We conceptualize features of the K-drama model: hybridized physiognomy, romantic innocence, ‘neo-Romantic’ ballads, and foreign language as a ‘hook’, borrowing Gary Burn’s terminology in popular music, that united multiracial consumption among the Malaysian youth. Finally, the results suggest a ‘re-packaging’ of homogeneity in television drama production and consumption.","PeriodicalId":191144,"journal":{"name":"Journal of Popular Television, The","volume":"25 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139293588","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Television in the Streaming Era, Jean K. Chalaby (2023)","authors":"M. Jenner","doi":"10.1386/jptv_00109_5","DOIUrl":"https://doi.org/10.1386/jptv_00109_5","url":null,"abstract":"Review of: Television in the Streaming Era, Jean K. Chalaby (2023) Cambridge: Cambridge University Press, 252 pp., ISBN 978-1-00919-926-1, p/bk, £26.99","PeriodicalId":191144,"journal":{"name":"Journal of Popular Television, The","volume":"19 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139299813","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"How slow is ‘slow TV’? Audiences’ experiences of meditation, obsession and authenticity when watching swimming moose on Swedish television","authors":"Åsa Kroon, Johan Nilsson","doi":"10.1386/jptv_00107_1","DOIUrl":"https://doi.org/10.1386/jptv_00107_1","url":null,"abstract":"This article explores viewers’ experiences of the Swedish Public Service (SVT) ‘slow TV’ broadcast Den stora älgvandringen (The Great Moose Migration), aired as a three-week long, live, multi-platform programme since 2019. Through semi-structured interviews with key informants, the aim is to qualitatively understand the audience attraction to the 24/7 programme, especially when it comes to authenticity, affordances and its apparent slowness of pace. The study showcases a spectrum of audiences’ experiences, ranging from appreciating the programme’s serenity and stillness to its potential for unexpected drama. It is suggested that The Great Moose Migration offers a ‘direct’ link to Swedish nature as it enables a wallowing in Swedish landscapes and fauna, and allows for an unashamed adoration of the majestic Swedish moose, but without it being experienced as something particularly ‘Swedish’. It is found that authenticity is central to the programme’s success with both production team and audiences. However, both personal and sociable experiences of the programme as authentic rest on the collective acceptance of authenticity as something intrinsically produced by people and technologies yet not experienced as constructed. Rather, it is something that hovers in between experienced mediated and unmediated reality.","PeriodicalId":191144,"journal":{"name":"Journal of Popular Television, The","volume":"10 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139302401","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Race and the Animated Bodyscape: Constructing and Ascribing a Racialised Asian Identity in Avatar and Korra, Francis M. Agnoli (2023)","authors":"Jacqueline Ristola","doi":"10.1386/jptv_00110_5","DOIUrl":"https://doi.org/10.1386/jptv_00110_5","url":null,"abstract":"Review of: Race and the Animated Bodyscape: Constructing and Ascribing a Racialised Asian Identity in Avatar and Korra, Francis M. Agnoli (2023) Jackson, MS: University of Mississippi Press, 216 pp., ISBN 978-1-49684-508-5, h/bk, $99 ISBN 978-1-49684-509-2, p/bk, $30","PeriodicalId":191144,"journal":{"name":"Journal of Popular Television, The","volume":"21 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139299364","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Investigating Broadchurch as a terrain of struggle: The cultural and political potential of British television crime drama","authors":"Ellen Grünkemeier","doi":"10.1386/jptv_00104_1","DOIUrl":"https://doi.org/10.1386/jptv_00104_1","url":null,"abstract":"British television crime drama offers fertile ground for discussion by reflecting on the politics of crime, society, family, environment, marketing and tourism. Broadchurch (2013–17) playfully engages with the conventions of the popular genre of the whodunit. Cashing in on the series’ popularity, screen tourism zooms in on a heritage space that disregards and ignores any unsettling social concerns. It is indeed sobering, if not disillusioning, to realize that today’s reconfigurations of the whodunit continue to uphold a nostalgic longing for an idealized past. However, in a cultural studies project, it is too easy a solution and too simplistic an argument to claim that the whodunit falls short of dismantling any such conservative ideology. Bearing in mind Stuart Hall’s statement that the popular is a terrain of struggle between both radical and conservative elements, the reconfigured whodunit is simultaneously escapist and topical. Television crime drama proves so popular in current times of political instability, economic inequality and social polarization precisely because it both fulfils the viewers’ desire for comfort and closure, and engages them in public debate about pressing sociopolitical issues.","PeriodicalId":191144,"journal":{"name":"Journal of Popular Television, The","volume":"16 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139294561","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Sideways televised: Towards a history of televised alternate histories","authors":"Summit P. Osur","doi":"10.1386/jptv_00103_1","DOIUrl":"https://doi.org/10.1386/jptv_00103_1","url":null,"abstract":"Alternate histories have been a part of the television landscape in the United States since a 1963 episode of The Twilight Zone (1959–64) explored the multiple worlds theory. As an interdisciplinary subgenre of science fiction, historical fiction and often even contemporary sitcoms and dramas, alternate histories have only grown more fiscally successful and generically mature as television, itself, has matured and grown as a medium. The development of the television alternate history genre in the past decade parallels the growth of the literary genre in the 1990s, which was accompanied by awards, the normalization of the genre, and a small yet robust canon of scholarship. As such, this article on alternate histories relies heavily on the literary theory that came before it in (1) defining the televisual alternate history genre, (2) outlining the genre’s unique purposes and (3) historicizing the four subgenres of televised alternate histories: time travel narratives, parallel world theories, pure alternate histories, and fantastical narratives. A long-overlooked genre, alternate histories have important implications for ideological awareness of the past and the present.","PeriodicalId":191144,"journal":{"name":"Journal of Popular Television, The","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115834062","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Past and future wars on TV: High-end drama series and national identity","authors":"Audun Engelstad","doi":"10.1386/jptv_00102_1","DOIUrl":"https://doi.org/10.1386/jptv_00102_1","url":null,"abstract":"War on film and in television series reflects a nation’s preoccupation with war and how warfare shapes conceptions of history. The war genre is inherently national, as it deals with a nation’s heroic moments and traumas. Stories about war address a nation’s collective moral values, cultural heritage and other tropes of national identity markers. This article will discuss two Norwegian war dramas made for TV, one set in the past (Kampen om tungtvannet [The Saboteurs] [2015]) and one set in a not-too-distant future (Okkupert [Occupied] [2015–20]). This article discusses how these war dramas articulate themes about history and nationality.","PeriodicalId":191144,"journal":{"name":"Journal of Popular Television, The","volume":"145 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115907444","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Viral representations: It’s a Sin","authors":"Angelos Bollas","doi":"10.1386/jptv_00099_1","DOIUrl":"https://doi.org/10.1386/jptv_00099_1","url":null,"abstract":"Belonging to the retrovision genre, It’s a Sin (2021) dramatizes the early years of the pandemic. Audiences are shown what reality was like before and immediately after the outbreak of HIV/AIDS. It narrates the transition from a sex-positive era where non-heterosexual people were standing up for their freedom to love, have sex and enjoy life to an era of fear, illness and death that followed the outbreak of HIV. The argument of this article is that contrary to earlier representations of the initial years of the pandemic, It’s a Sin, not unlike Pose (2018–21), succeeds in addressing HIV/AIDS in an empowering rather than stigmatizing manner. In particular, It’s a Sin challenges previous representations of the early years of the pandemic by not contributing to the association of HIV/AIDS with a discourse of illness and death. What is different in this series to earlier representations was the fact that there is no blame towards people living with HIV/AIDS (PLWHA), nor do we see them as passive victims of an unknown virus. Rather, by applying ‘analytics of mediation’, it is argued that the series presents the social suffering that emerged with HIV/AIDS and provides space for audiences to reflect on their contribution to the suffering of others.","PeriodicalId":191144,"journal":{"name":"Journal of Popular Television, The","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114892255","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}