Importing Asta Nielsen: the international film star in the making 1910–1914
Importing Asta Nielsen: the international film star in the making 1910–1914
复制标题
引进阿斯塔·尼尔森（Asta Nielsen）：1910-1914 年正在崛起的国际电影明星
DOI：
10.1080/01439685.2015.1030895
复制
发表时间：
2015
期刊：
影响因子：
--
通讯作者：
Nora Gortcheva
中科院分区：
文献类型：
--
作者：
Nora Gortcheva
在许多人身上”（64），将戏剧通过技术的演变比作廉价住房的类似创新。这似乎证实了现代英国电视现在是一个消费市场。同样，制片人卡梅隆·罗奇 (Cameron Roach) 描述了将《滑铁卢路》从原来的地点搬迁到一个全新地点所涉及的漫长协商过程（作为 BBC 章程 2008 年承诺将 50% 的制作从伦敦以外采购的一部分），表明“制片人和观众之间的联系从未如此密切”(189)。同样，学者维多利亚·拜亚德（Victoria Byard）也认为，粉丝群体正在通过将粉丝提升为制片人来塑造戏剧制作，就像拉塞尔·T·戴维斯（Russell T. Davies）和神秘博士宇宙的例子一样。比利·斯马特和莎拉·卡德威尔在各自对《加冕街》和《劝导》（1971年、1995年和2007年）的不同版本的新技术影响的分析中都认为，技术的影响可以微妙地影响电视剧的解释性质，无论是积极的还是有害的。詹姆斯·查普曼的作品成功解构了《唐顿庄园》的国际现象，既符合“优质”英国电视遗产剧的标准，又符合跨国合拍的世界观。查普曼认为，《唐顿庄园》的成功并非偶然，而是一个精心策划的策略，它平衡了成功的英国古装剧的元素与肥皂剧叙事相关的“过度戏剧化”的元素（138）。如果对这个系列有轻微的批评，那可能是偶尔倾向于在没有提供任何证据基础的情况下对观众的反应做出假设。这本身就提出了一个有趣的问题，因为它可能表明文本分析和粉丝研究的奇怪伙伴在未来可能会有利地得到调和。总的来说，无论是否处于黄金时代，对于任何对电视剧的学术和商业分析感兴趣的人来说，这本书仍然是有价值的读物，新委托的章节提供了有价值的新视角。
on the many’ (64), likening the evolution of drama through technology to similar innovations in cheap housing. This seems to confirm that modern British television is now a consumer marketplace. Likewise, producer Cameron Roach describes the long process of consultation involved in relocating Waterloo Road from its original location to an entirely new one (as part of the BBC charter’s 2008 commitment to sourcing 50% of production outside of London), suggesting that ‘never has the interface between producer and viewer been so close’ (189). Similarly, academic Victoria Byard also suggests that fandom is shaping drama production through the elevation of fans to producers, as in the case of Russell T. Davies and the Doctor Who universe. Billy Smart and Sarah Cardwell both suggest that the impact of technology can subtly affect the hermeneutic qualities of television drama, both in positive and deleterious capacities, in their respective analysis of the impact of new techniques in Coronation Street and the different iterations of Jane Austen’s Persuasion (1971, 1995 and 2007). James Chapman’s entry successfully deconstructs the international phenomenon of Downton Abbey, within the canon of ‘quality’ British television heritage drama, but also within the world of transnational co-production. The success of Downton was not an accident Chapman argues, but a carefully planned strategy, which balanced elements of successful British costume drama with the ‘overdramatic excess’ associated with soap narratives (138). If there were a slight criticism of the collection, it would perhaps be the occasional tendency to make assumptions about what audiences responded to without providing any evidentiary basis. This in itself poses an interesting question as it might suggest that the odd bedfellows of textual analysis and fan studies might be profitably reconciled in the future. Overall though, golden age or not, this collection remains valuable reading for anyone interested in the academic and commercial analysis of television drama, with valuable new perspectives offered by the newly commissioned chapters.