Theresa Trimmel – författare

This book examines the growing visibility and cultural legitimation of female showrunners and their productions in US television, presenting the role of women in the contemporary media landscape and analysing the feminist sensibility governing female storytelling in the 2010s.Focusing on a period when television appeared to be endorsing female authorship, the book explores female authorship in US television and unpacks the tensions around “visibility” as an indicator of social change. The book interrogates new emerging forms of feminism, as well as the discursive networks surrounding female authorship and their series, critically examining how women-led TV productions and their paratexts engage with feminist politics and contemporary discourses on gender, race, and LGBTQ+ identities.This book will interest scholars and students with research interests in gender and television, in particular those working on contemporary television; equality and diversity in the creative industries; televisual authorship; advertising, branding, and marketing of film and television productions; reception discourses; celebrity culture in the digital age as well as on the manifestations of feminism in popular culture.

This book examines the growing visibility and cultural legitimation of female showrunners and their productions in US television, presenting the role of women in the contemporary media landscape and analysing the feminist sensibility governing female storytelling in the 2010s.Focusing on a period when television appeared to be endorsing female authorship, the book explores female authorship in US television and unpacks the tensions around "e;visibility"e; as an indicator of social change. The book interrogates new emerging forms of feminism, as well as the discursive networks surrounding female authorship and their series, critically examining how women-led TV productions and their paratexts engage with feminist politics and contemporary discourses on gender, race, and LGBTQ+ identities.This book will interest scholars and students with research interests in gender and television, in particular those working on contemporary television; equality and diversity in the creative industries; televisual authorship; advertising, branding, and marketing of film and television productions; reception discourses; celebrity culture in the digital age as well as on the manifestations of feminism in popular culture.

This book examines the growing visibility and cultural legitimation of female showrunners and their productions in US television, presenting the role of women in the contemporary media landscape and analysing the feminist sensibility governing female storytelling in the 2010s.Focusing on a period when television appeared to be endorsing female authorship, the book explores female authorship in US television and unpacks the tensions around "e;visibility"e; as an indicator of social change. The book interrogates new emerging forms of feminism, as well as the discursive networks surrounding female authorship and their series, critically examining how women-led TV productions and their paratexts engage with feminist politics and contemporary discourses on gender, race, and LGBTQ+ identities.This book will interest scholars and students with research interests in gender and television, in particular those working on contemporary television; equality and diversity in the creative industries; televisual authorship; advertising, branding, and marketing of film and television productions; reception discourses; celebrity culture in the digital age as well as on the manifestations of feminism in popular culture.

What is television’s capacity to elicit empathy?This book, Television and Empathy, brings together responses from a range of international scholars and interdisciplinary approaches.Television’s serialised form, ensemble casts and depth of storytelling has long granted viewers extended access to a diversity of perspectives. Meanwhile, interactive online technologies and platforms increasingly promise more personal and collective relationships with the small screen than ever before. With chapters exploring series from the UK and US, Australia, Iceland, Netherlands, South Korea and Spain, this cutting-edge collection responds to this juncture of television and affective theory.This collection is essential reading for upper undergraduates, postgraduates and researchers working in screen studies and audience studies, cognitive media theory, digital and cultural studies and psychology