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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Introduction,s have arguably functioned to separate ‘good’ from ‘bad’ television – to herald television dramas (often US) such as . (HBO, 2002–08) and . (AMC, 2008–13) as ‘cinematic’ and ‘socially conscious’. These flattering designations work in opposition to reviews of ‘bad’ television, often British, sometime

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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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and the Politics of Everyday Lifeinculcate fixed regional and socio-political narratives of class representation. Central to this analysis is the titular ‘street’ itself, which is positioned as a critical symbolic mechanism in the series’ mythologising of everyday life.

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High-flyers, Hooligans and Helpmates: Images of Social Class in the Television Dramas of Stephen Polideration has been given to his representations of social class. Analysing patterns of dialogue and characterisation in Poliakoff’s oeuvre since the 1970s, this chapter argues that while Poliakoff offers a critique of capitalist alienation as experienced by wealthy white men, his plays tend to privi

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