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Titlebook: Social Class and Television Drama in Contemporary Britain; David Forrest,Beth Johnson Book 2017 The Editor(s) (if applicable) and The Auth

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书目名称Social Class and Television Drama in Contemporary Britain
编辑David Forrest,Beth Johnson
视频video
概述This collection critically considers contemporary British television drama from 1997 to 2017.It provides thematic emphasis on class and new insights into the national conversation around class and ide
图书封面Titlebook: Social Class and Television Drama in Contemporary Britain;  David Forrest,Beth Johnson Book 2017 The Editor(s) (if applicable) and The Auth
描述This collection is a wide-ranging exploration of contemporary British television drama and its representations of social class. Through early studio-set plays, soap operas and period drama, the volume demonstrates how class provides a bridge across multiple genres and traditions of television drama. The authors trace this thematic emphasis into the present day, offering fascinating new insights into the national conversation around class and identity in Britain today. The chapters engage with a range of topics including authorial explorations of Stephen Poliakoff and Jimmy McGovern, case studies of television performers Maxine Peake and Jimmy Nail, and discussions of the sitcom genre and animation form. This book offers new perspectives on popular British television shows such as .Goodnight Sweetheart .and .Footballers’ Wives., and analysis of more recent series such as .Peaky Blinders .and .This is England.. 
出版日期Book 2017
关键词Class; Television; British; English; Drama; Contemporary
版次1
doihttps://doi.org/10.1057/978-1-137-55506-9
isbn_ebook978-1-137-55506-9
copyrightThe Editor(s) (if applicable) and The Author(s) 2017
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: Authorship, Emotion and Class Tellyxts for interpreting . (Channel 4, 2010), . (Channel 4, 2011) and . (Channel 4, 2015). Though widely recognised as texts ‘authored’ by Shane Meadows and Jack Thorne, I suggest that the significant creative contribution and improvisation of working-class actor Vicky McClure, amounts to co-authorship.
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‘A Woman Like That Is Not A Woman, Quite. I Have Been Her Kind’: Maxine Peake and the Gothic Excess he ways in which these performances intersect with Peake’s public persona and her musical collaboration with the Eccentronic Research Council to both use and challenge Gothically inflected images of the North.
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