Introduction: The Aesthetics and Politics of British TV Comedy

Kamm, Jürgen; Neumann, Birgit

doi:10.1057/9781137552952_1

Cited by 3 publications

(2 citation statements)

References 16 publications

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“…Hit & Miss and Boy Meets Girl stand out because both series have trans* characters in the lead roles who stay in the focus of the series from beginning to the end, as opposed to the long productions such as Coronation Street (Kerrigan, Patrick, Dowd et al 1960-present), EastEnders (Holland, Smith et al 1985-present), Doctor Who (Moffat, Minchin et al 2015) and even Banana (Davies, Shindler, Gardner et al 2015) and Cucumber (Strevens et al 2015), where trans* characters are present in one stretch of the shows, or as episodic characters as in the Moving Wallpaper (Jordan et al 2008(Jordan et al -2009 or The IT Crowd (Linehan et al 2006(Linehan et al -2013. Both series do not squarely fit into traditional genres: the one fuses family drama with crime and noir, the other situational and romantic comedy.…”

Section: A Family Woman: Hit and Miss And Boy Meets Girlmentioning

confidence: 99%

Trans* Time

2022

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Trans*Sichtbarkeit hat in den letzten Jahren einen Höhepunkt erreicht, so auch in TV- und Streaming-Serien. Sie geht mit Prozessen sozialer Popularisierung und akademischer Legitimierung einher. Inwiefern bildet die fiktionale Darstellung von trans*Personen ihre vielfältige Wirklichkeit ab, die von selbstbestimmten Lebensentwürfen ebenso wie von Diskriminierung und Gewalt geprägt ist? Wenn es stimmt, dass Serien Gesellschaft- und Identifikationsmodelle hervorbringen, welche Chancen und Gefahren sind dann mit ihrer Verbreitung verbunden? Die Autor_innen gehen diesen Frage anhand von ausgewählten europäischen Serien nach. creativecommons.org/licenses/by-nc-nd/4.0/

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Section: A Family Woman: Hit and Miss And Boy Meets Girlmentioning

confidence: 99%

Trans* Time

2022

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“…Hit & Miss and Boy Meets Girl (Kerrigan et al 2015(Kerrigan et al -2016 stand out because both series have trans* characters in the lead roles who stay in the focus of the series from beginning to the end, as opposed to the long productions such as Coronation Street (Kerrigan, Patrick, Dowd et al 1960-present), EastEnders (Holland, Smith et al 1985-present), Doctor Who (Moffat, Minchin et al 2015) and even Banana (Davies, Shindler, Gardner et al 2015) and Cucumber (Strevens et al 2015), where trans* characters are present in one stretch of the shows, or as episodic characters as in the Moving Wallpaper (Jordan et al 2008(Jordan et al -2009 or The IT Crowd (Linehan et al 2006(Linehan et al -2013. Both series do not squarely fit into traditional genres: the one fuses family drama with crime and noir, the other situational and romantic comedy.…”

Section: A Family Woman: Hit and Miss And Boy Meets Girlmentioning

confidence: 99%

Trans* time: Projecting transness in European (TV) series

Koch-Rein¹

2021

Tijdschrift Voor Genderstudies

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Trans* is used in this edited volume as an umbrella term including a whole spectrum of identity-generating and/or contingent expressions of gender variability, gender embodiment and non-standard gender identities. The term is also employed for self-designations and life plans in various geopolitical and historical contexts from a decolonial perspective. The asterisk evokes the language of informatics, by which the addition of an asterisk (*) after the entering of a word on a server gives the user access to all entries found that contain said word accompanied by others complementing them (Gómez Beltrán 2018, 425). From this standpoint, Trans* Time: Projecting Transness in European (TV) Series explores multiple and complementary understandings of being trans* and reveals the way trans* people are depicted in European televisual and digital streaming series in France, Great Britain, Italy, Portugal, Spain and the Netherlands. Trans* visibility has reached a peak in recent years, so much so that we can state that we are living in trans* times at present. This peak is especially noticeable in the media, and most specifically in television series, where we are also witnessing a prime time for trans* representations, and hence a trans* time in series. Sophia Burset in Orange is the New Black (Kohan et al./Netflix 2013-2019) or Maura, the protagonist of the series Transparent (Soloway et al./Amazon 2014-2019,) are maybe two of the most internationally well-known examples of this media surge.This visibility is not completely new and does not come from a vacuum. 1 Christine Jorgensen's 'transition' in 1953 favoured the mediatisation of transness in mass media, but did not reach television, since the "topic was considered too risquée for family-oriented entertainment"

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Opera-Film as Television: Remediation in Tony Britten's Falstaff

Citron¹

2017

Journal of the American Musicological Society

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Tony Britten's film Falstaff (2008) is an unusual, even radical opera-film. An updated treatment with a colloquial English translation and a chamber arrangement, and lacking many operatic elements, the film enacts a remediation of opera-film through the medium of television. Remediation, as conceived by Jay Bolter and Richard Grusin, refers to “the representation of one medium in another,” and its goal “is to refashion or rehabilitate other media.” Britten's Falstaff is strongly influenced by British popular television, especially British situation comedy. Sitcoms that emphasize working-class culture and “lads’ humor”—such as Only Fools and Horses and Men Behaving Badly respectively—resonate conspicuously with this Falstaff. In addition, television features prominently in it by virtue of the fact that protagonist John Falstaff is a former television star. The implications of this remediated opera-film for Verdi and Boito's opera are also of considerable interest. In critical ways associated with music, text, and narrative, the opera is highly suited to Britten's conception. Building on the work of Denise Gallo, I propose that Britten's film marks another moment in the struggle for national ownership of the Merry Wives material. In this sense the film articulates an “Englishizing” of Verdi and Boito's opera. The new kind of opera-film represented by Britten's Falstaff reinforces the idea of “television opera” as a genre that takes advantage of television's medial and aesthetic capabilities, and expands its purview to adaptations as well as new operas.

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Introduction: The Aesthetics and Politics of British TV Comedy

Cited by 3 publications

References 16 publications

Trans* Time

Trans* Time

Trans* time: Projecting transness in European (TV) series

Opera-Film as Television: Remediation in Tony Britten's Falstaff

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