TV Drama in the Multiplatform Era: Transnational Coproduction and Cultural Specificity

Acknowledgements
Contents
Notes on Contributors
Chapter 1: Multiplatform TV, the Cultural Diversification of High-End Drama, and New Coproduction Strategies
	Introduction
	The Multiplatform Era and Some Impacts of Internet-Distributed Television
	An Era of Change for High-End TV Drama
	High-End Drama Commissioning and Financing at the National Level: The United Kingdom
	From ‘International’ to ‘Transnational’: Coproduction Strategies in the Multiplatform Era
	The Structure of This Book
	References
Chapter 2: Moving across Platforms and Cultures: From BBC to Syfy to Amazon Prime: The Adaptation of Philip K. Dick’s The Man in the High Castle
	Introduction
	Production History
	Representational Repertoire and Development of the Narrative
	Audiences and Borders
	Conclusions
	References
Chapter 3: Netflix and Borgen: A Match Made in…?
	Introduction
	The Case of Borgen
	The Place of Borgen
	From Peripheral Counterflow to Transnational Co-current?
	Conclusions
	References
Chapter 4: Magnífica 70: HBO’s Portrayal of the Brazilian Boca do Lixo Cinema
	Introduction
	Original Brazilian HBO Dramas: Local Flavors for International Consumption
	Magnífica 70, An HBO Latin America Original
	The Boca do Lixo Cinema
	Stylistic Sophistication and Realism
	Talking About Boca do Lixo
	Conspicuous Brazilianness
	Conclusions
	References
Chapter 5: British History from a Distance: Transnational and Intergenerational Framings of The Crown
	Introduction
	Framing History
	Connecting to Today
	Intervening in History
	Conclusions
	References
Chapter 6: It’s a Sin: Cross-Platform Coproduction, Cultural Specificity, and Conflicting Cultures
	Introduction
	The Significance of It’s a Sin’s Commissioning by Channel 4
	It’s a Sin as a Transnational Drama and Cross-Platform Coproduction
	It’s a Sin as ‘Authored Drama’
	It’s a Sin and the Rejection of Gay Men by Biological Families
	It’s a Sin and the Formation of a ‘Logical Family’
	It’s a Sin, Britain’s HIV/AIDS Crisis and the Significance of ‘Clause 28’
	Conclusions
	References
Chapter 7: Unseen Particles in Time: Co-producing Transcultural Memory as a Discourse of TV Legitimacy Within the Sky/HBO Miniseries TV Event, Chernobyl (2019)
	Introduction
	Falling from the Sky: Reframing the National in the Transnational
	(Trans)national Original Programming, Legitimatising Television and the Creation of TV Value Within the Field of Restricted Cultural Production
	Producing Transcultural Memories as TV Legitimacy: Mnemonic Forms and as Affect
	Moving Testimonies and Awakening Justice: Female Witness as Mnemonic Transcultural Memory Forms
	Conclusions
	References
Chapter 8: Les de l’Hoquei/The Hockey Girls: From a Catalan Bachelor’s Degree Project to Netflix
	Introduction
	From a Bachelor’s Degree Thesis to Netflix: Les de l’Hoquei/The Hockey Girls
	The Transnational Collaboration Between TV3 and Netflix
	Gender Conflict and the Identity of Women
	Cultural and Linguistic Distinctions for LDH
	Coproduced Television Drama and Genre
	Conclusions
	References
Chapter 9: Gender and the Youthification of German Television: Zeit der Geheimnisse/Holiday Secrets and Generational Change in High-End TV Drama
	Introduction
	Gender Equality in Germany
	The Youthification of Television and Netflix in Germany
	Zeit der Geheimnisse Between the National and Transnational
	Zeit der Geheimnisse as Drama About and for Women of Different Generations
	Conclusions
	References
Chapter 10: Atiye/The Gift: Narrating Cultural Diversities as Spiritual Fantasy in an Authoritarian Climate
	Introduction
	Turkish TV Dramas and Netflix Turkey
	Televisual Diversity in Turkey
	Theoretical Background on Popular Spiritualism
	Three Interwoven Thematic Frames: Diversity, Self-Discovery, and Matriarchal Power
	A Narrative of Self-Discovery Through Spirituality
	Matriarchal Power
	Markers of National and Religious Diversity
	Emphasizing Historical Unity Through Diversity
	Conclusions
	References
Chapter 11: Freedom of Defection: The Representation of Ultra-Orthodox Jews and Netflix’s Unorthodox
	Introduction
	Representations of Ultra-Orthodoxy and the Contribution of Netflix Originals
	The Transnationalism of Satmar Ultra-Orthodox Judaism
	The Transnational Production of Unorthodox
	A New Wave of Haredi TV Series and Linkages Between Israel and US TV
	‘Is Netflix Good for the Jews?’: Controversies in Germany and the US
	Conclusions
	References
Chapter 12: Polish Culture? World on Fire, Transnational Coproduction and the Inscription of Cultural Specificity
	Introduction
	Transnational Coproduction, Public Broadcasters, Worldwide Audiences
	“Our Finest Hour”: The British Home Front, Anglo-Polish Relations, Polish Heroism
	Cultural Specificity, Period Verisimilitude, ‘Conspicuous Localism’
	Conclusions
	Notes
	References
Chapter 13: El Robo del Siglo/The Great Heist: Perpetuating False Territorial Dichotomies in Colombia?
	Introduction
	Background
	Costeños and Cachacos Within Colombian National Identity: The History of a False Dichotomy
	Costeños and Cachacos on Colombian TV
	El Robo del Siglo and Netflix: Same Old False Dichotomy?
	El Robo del Siglo: Analysis of Cultural Representations in the First Episode
	Conclusions
	References
Index