Social Issues in Television FictionEdinburgh University Press, 6 juin 2007 - 208 pages Why are some controversial issues covered in TV soaps and dramas and not others? How are decisions really made 'behind the scenes'? How do programme makers push boundaries without losing viewers? What do audiences take away from their viewing experience? Does TV fiction have a greater impact on public understandings than TV news? This exciting new book draws on unique empirical data to examine the relationship between popular television fiction and wider society.The book gives lively and engaging insights into how and why socially sensitive story lines were taken up by different TV programmes from the late 1980s to the 2000s. Drawing on a series of case studies of medicine, health, illness and social problems including breast cancer, mental distress, sexual abuse and violence it comprehensively traces the path of storylines from initial conception through to audience reception and uses contemporary examples to link practice to theory. For the first time, this book addresses production and receptio |
Table des matières
| 3 | |
Part II Inside the Industry | 29 |
Creative Philosophies Professionalism and Production Values | 31 |
Part III Struggles over Television Production | 53 |
General Introduction | 55 |
Sexual Violence | 58 |
Breast Cancer | 76 |
Mental Distress | 93 |
Part IV Social Issues and Television Audiences | 131 |
CHAPTER 7 Public Understandings Sexual Violence and Safe Spaces | 133 |
Part V Television Fiction and Public Knowledge | 165 |
CHAPTER 8 Conclusions | 167 |
Focus Group Session Participants | 183 |
| 184 | |
| 195 | |
CHAPTER 6 Social Issues Production and Genre | 109 |
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Expressions et termes fréquents
allow argue attract audiences become believed Beth breast cancer British broadcasting Brookside casting challenging Channel Chapter character child closed concern considered Coronation Street cultural debates decision described developed discussed documentary drama EastEnders episode example experience explains fact factor female format genre going groups identified impact important influence interesting involved issues knowledge lines look makers Mandy mean mental distress mental health mental illness messages narrative nature noted organisations participants particular patients play popular portray positive possible potential presented problems production team professional programme Rachel reflect responses role scenes script seen serial sexual abuse sexual violence significant simply social social issues specific story storyline studies suggests survivors television fiction television soap opera thing tion topic Trevor understanding viewers watched woman women writers young