TV Drama in the Multiplatform Era

Trisha Dunleavy is Associate Professor of Media and Communication at Te Herenga Waka/Victoria University of Wellington, New Zealand. Her books include Ourselves in Primetime: A History of New Zealand Television Drama (2005), Television Drama: Form, Agency, Innovation (2009), and Complex Serial Drama and Multiplatform Television (2018). Elke Weissmann is Reader in Television and Film at Edge Hill University, Ormskirk, UK. She is the author of Transnational Television Drama (2012). She is ECREA editor for Critical Studies in Television and currently working on the British Academy-funded project ‘Transnational Television Drama in the Multiplatform Age’.

“The editors present a very well organised volume, including a rewarding number of heavily-researched chapters on shows from a diverse range of countries … TV Drama in the Multiplatform Era a useful primer for studying the effects of transnationalism in recent drama. This book is accessible to students but will also be valuable to researchers in the field of co-productions and streaming providers.” (Max Sexton, Critical Studies in Television, October 16, 2024)

• Chapter 1. Multiplatform TV, the Cultural Diversification of High-End Drama, and New Coproduction Strategies.- 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.- Chapter 3. Netflix and Borgen: A Match Made in…?.- Chapter 4. Magnífica 70: HBO’s Portrayal of the Brazilian Boca do Lixo Cinema.- Chapter 5. British History from a Distance: Transnational and Intergenerational Framings of The Crown.- Chapter 6. It’s a Sin: Cross-Platform Coproduction, Cultural Specificity, and Conflicting Cultures.- 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).- Chapter 8. Les de l’Hoquei/The Hockey Girls: From a Catalan Bachelor’s Degree Project to Netflix.- Chapter 9. Gender and the Youthification of German Television: Zeit der Geheimnisse/Holiday Secrets and Generational Change in High-End TV Drama.- Chapter 10. Atiye/The Gift: Narrating Cultural Diversities as Spiritual Fantasy in an Authoritarian Climate.- Chapter 11. Freedom of Defection: The Representation of Ultra-Orthodox Jews and Netflix’s Unorthodox.- Chapter 12. Polish Culture? World on Fire, TransnationalCoproduction and the Inscription of Cultural Specificity.- Chapter 13. El Robo del Siglo/The Great Heist: Perpetuating False Territorial Dichotomies in Colombia?./