Triumph of a Time Lord

Abstract

Before Saturday March 26th 2005, "Doctor Who" had been off the air as a regular, new TV series for more than fifteen years; until a production team led by Russell T. Davies re-imagined the programme so successfully, so triumphantly, that it's become an instant Christmas tradition, a BAFTA winner, an international 'superbrand' and a number one rated show. It's even been credited with reinventing family TV. This is the first full-length book to explore the 'new Who' phenomenon through to the casting of Matt Smith as the new Doctor. It explores "Doctor Who" through contemporary debates in TV Studies about quality TV and how can we define TV series as both 'cult' and 'mainstream'. Further, the book challenges assumptions in focusing on the importance of breath-taking, dramatic moments along with narrative structures, and in analysing the significance of Murray Gold's music as well as the series' visual representations. Matt Hills is a lifelong "Who" fan and he also considers the role of fandom in the show's return. He investigates too the multi-generic identity, the monster-led format, and the time-travelling brand of BBC Wales' 'Doctor Who'. In the twenty-first century, TV is changing, but the last of the Time Lords has been more than ready: he's been fantastic.

Time and relative dimensions in serialization: Doctor Who, serialization, fandom and the adaptation of a police box

“…For fan studies, Henry Jenkins also speaks of this double pleasure, '[f]ans see the fictional characters and their actions as simultaneously "real" and "constructed", adopting a strategy of "double viewing" that treats the show with both suspended disbelief and ironic distance' (2012: 66). Whereas Jenkins speaks of the palimpsest intertextually I will argue multiple pleasures are intertextual and extratextual, going beyond the hyperdiegesis (Chapman 2013;Hills 2010) formed through a franchise of texts. It will be argued that multiple pleasures exist through a franchise of networked actors interconnected through discourse.…”

“…With the rise of interactive social networks, and the increasing convergence of fans and professional practice, this article argues that fan discourse is far from powerless and has an influence on the Doctor Who franchise. As Matt Hills (2010) has argued, the importance of fans to producers and distributors should not be dismissed. Doctor Who fan activity can impact the show's ongoing narrative, become part of its promotional discourse and be utilized in its merchandising; market strategies that seek to prolong the value of the serialized production.…”

“…Hills further notes how fan discourses have been drawn into production discourses via fans in charge of production. These are textual poachers (Jenkins 2012) who have become gamekeepers (Hills 2010). Douglas McNaughton's (2010) research into Who fandom speaks of the abovethe-line fans within Doctor Who production.…”

Governados Em Seus Próprios Termos: Prossumo De Fãs Em Relação Aos Paratextos Midiáticos De Vingadores: Ultimato

“…Assim, os paratextos midiáticos ilustram como é possível investigar e gerenciar a intensa relação entre os fãs e os produtos que consomem (Hills, 2010;Sugihartati, 2020). Além disso, o papel do paratexto midiático está intimamente associado às ações dos fãs, que se apropriam e ressignificam seu conteúdo (Hills & Garde-Hansen, 2017).…”

Prosumer activism: The case of Britney Spears’ Brazilian fandom

“…Dialoguing with Jenkins, Booth (2010) emphasizes that "fans typically utilize their technological capacities, their communal intelligence, their individual knowledge base, and their social interaction skills to investigate and explore media" (p. 20). Still within this perspective, Hills (2010) notes that "rather than being viewed simply as 'poachers', fans have become parttime collaborators with official producers seeking to incite and retain dedicated fan audiences, and part-time co-opted word-of-mouth marketers for beloved brands" (p. 58), in a culture between consumerism and resistance.…”