Troubled Men: Ageing, Dementia and Masculinity in Contemporary British Crime Drama

Wearing, Sadie

doi:10.3366/jbctv.2017.0359

Cited by 10 publications

(4 citation statements)

References 19 publications

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“…As the saying goes, there is no conflict without contradiction, and no drama without conflict. Many creators pay great attention to the arrangement of the plot, or carefully organize seemingly ordinary events through time or space, and finally form works of art that can express the theme and eliminate ideas [10]. en, through the execution of characters, the creation of environment and atmosphere, etc., a well-known project is finally completed.…”

Section: Methods On the Promotion Of Drama And Filmmentioning

confidence: 99%

Promotion and Influence of Big Data and Artificial Intelligence in Field of Drama and Film

2022

Mobile Information Systems

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As a member of the oldest art family of human beings, drama is also a very important part of human civilization. With the development of technology, more and more types of drama film and television appear. In today’s society, bad films and commercial films are emerging one after another. The intervention of capital has brought a very poor experience to moviegoers and is not conducive to the development of the entire field of drama and film. The further development and scientific promotion of the field of drama film and television has become a relatively important issue. In this context, this paper takes this as the starting point, integrates big data and artificial intelligence algorithms, and aims to analyze the promotion and influence in the field of drama and film. It has existed for a long time in the fields of physics, biology, environmental ecology, and other industries such as military, finance, and communication, but it has attracted people’s attention due to the development of the Internet and information industry in recent years. The article introduces the transition of the mainland film system and the manifestations of conflict in plot art and film and television plots. It uses the convolutional neural network algorithm in deep learning to build the system. This paper adopts an online survey, distributes it to moviegoers nationwide, and collects 4,000 valid samples for analysis of moviegoers’ occupation and monthly income. In terms of the occupational distribution of the audience, the proportion of white-collar workers in the company is the highest at 40%, the student group only accounts for 17.4%, and the retired worker group accounts for the smallest proportion, at 0.6%. To sum up, the structure of Chinese films has shifted from a younger, student-dominated, middle-income group to a mature, workplace-oriented, middle- and high-income group. It has successfully completed the analysis of the promotion and impact of big data and artificial intelligence in the field of drama, film, and television.

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Section: Methods On the Promotion Of Drama And Filmmentioning

confidence: 99%

Promotion and Influence of Big Data and Artificial Intelligence in Field of Drama and Film

2022

Mobile Information Systems

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“…Regardless of whether Dougie/Cooper is read (perhaps fannishly) in relation to the Frost family, this character’s loss of self-identity, and even control over bodily functions such as urination, connotes generational anxieties surrounding aging and dementia. As Sadie Wearing (2017, 127) has argued, crime dramas tackling the theme of dementia can “demonstrate the consequences of forgetting for figures—detectives—for whom the ability . .…”

Section: Analyzing the Return Of Twin Peaks: Generational Seriality mentioning

confidence: 99%

“…meaningful” is a core part of their self-identity. Moreover, a threatened loss “of autonomy, self-reliance and power” can “trouble masculine identifications, gendered roles and the related ability to author(ise) the self” (Wearing 2017, 140).…”

Section: Analyzing the Return Of Twin Peaks: Generational Seriality mentioning

confidence: 99%

Cult TV Revival: Generational Seriality, Recap Culture, and the “Brand Gap” of Twin Peaks: The Return

Hills

2017

Television & New Media

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Of late, TV seriality has become not just a matter of textual analysis but also intertextual analysis as texts from the cultural past are variously revived and reimagined. Critics have sought to name this trend, arguing for the 're-quel' as a useful term (Pinkerton 2016, 34). For example, writing in Sight & Sound Nick Pinkerton argues that re-quels act simultaneously as sequels and as restatements of key elements from their previous textual incarnations. By introducing new, younger characters alongside ageing favourites, franchises can strategically facilitate a "baton passage of Q [diegetic] worlds from one generation to the next" (Pinkerton 2016, 34). In such continuations, then, the issue of cross-generational transfer necessarily becomes significant (Lizardi 2017). Cult TV has proffered a number of re-quels (e.g. Doctor Who; Star Trek: The Next Generation; The Prisoner) given that it tends to have established fan loyalty and brand recognition. Indeed, cult TV can be defined by its "post-object fandom" (Williams 2015) as dedicated fan cultures continue to develop their relationships with cult texts long after television cancellation. Rebecca Williams has observed how post-object fandom can offer opportunities for textual resurrection (2016, 56; Hills 2013, 297). Here, I am interested in one case of cult TV revival: the third season of Twin Peaks (Showtime, 2017), promoted as Twin Peaks: The Return. I will argue that what distinguishes the revival's seriality is its invocation of 1 This article is dedicated to the memory of my father, Robin Hills.

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“…Burke (2018) discusses EiM without specifically addressing its relationship to the crime genre. Only Wearing’s (2017) study of dementia within TV crime shows prominently foregrounds the genre.…”

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confidence: 99%

Dementia and detectives: Alzheimer’s disease in crime fiction

Orr

2018

Dementia

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Fictional representations of dementia have burgeoned in recent years, and scholars have amply explored their double-edged capacity to promote tragic perspectives or normalising images of 'living well' with the condition. Yet to date, there has been only sparse consideration of the treatment afforded dementia within the genre of crime fiction. Focusing on two novels, Emma Healey's Elizabeth is Missing and Alice LaPlante's Turn of Mind, this article considers what it means in relation to the ethics of representation that these authors choose to cast as their amateur detective narrators women who have dementia. Analysing how their narrative portrayals frame the experience of living with dementia, it becomes apparent that features of the crime genre inflect the meanings conveyed. While aspects of the novels may reinforce problem-based discourses around dementia, in other respects they may spur meaningful reflection about it among the large readership of this genre.

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Troubled Men: Ageing, Dementia and Masculinity in Contemporary British Crime Drama

Cited by 10 publications

References 19 publications

Promotion and Influence of Big Data and Artificial Intelligence in Field of Drama and Film

Promotion and Influence of Big Data and Artificial Intelligence in Field of Drama and Film

Cult TV Revival: Generational Seriality, Recap Culture, and the “Brand Gap” of Twin Peaks: The Return

Dementia and detectives: Alzheimer’s disease in crime fiction

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