Sensing the City through Television: Urban Identities in by Peter Billingham

By Peter Billingham

How do fictional representations of the town give a contribution to our experience of identity?  Does this feed again into how we see towns and their cultures? This in-depth research with 5 case reviews presents the root for a critique at the political, sociological and cultural implications of this strand of renowned programming.  The e-book features:Queer as FolkThe CopsHolding OnHomicide-Life at the StreetArmistead Maupin's stories of the City Each programme is mentioned when it comes to constitution, content material, characterisation, and narrative, and every is put inside of a particular ideological context.  The case stories characterize a extensive variety of British and American towns and town sub-cultures, whereas the e-book attracts at the author's particular interviews with Tony Garnett, Tony Marchant, and David Snodin. The writer additional extends his research to enquire the intrinsic matters with regards to the consequences of renowned and excessive drama and tradition.  As one of many first giant investigations of town in tv drama, this e-book displays and contributes to a turning out to be common curiosity within the politics of representation.  this is often appropriate for lodging into the preferred educational classes on drama and film/media experiences either as a textbook and for supplementary examining.

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Any potential sense of support that Amanda might have received from another female officer is undermined by an underlying resonance of arrogant resistance to both the reprimand and, by consequence, to the hierarchical relations of status and deference. However in the following Episode Four, when Metcalf meets Kennett again, it is in the context of Wakefield having driven over to Stanton police station. The potential for duplicity motivating Kennett’s character is glimpsed in the contrast between her observing to Metcalf that “Alan kindly offered me a lift” to her comment as Wakefield leaves: Kennett: What a creep.

Amanda: You know, with the sirens blaring and the blue lights flashing… (Mike casts a surreptitious glance at Amanda who is looking dreamily out the windscreen. He reaches over, very, very cautiously along the dash and slowly presses the switch, which operates the blue lights. Amanda sees the pool of blue light splash the ground before her and looks round sharply at Mike) Wondering at what Amanda’s reaction might be, there is a tacit sense of relief when Amanda reaches across and turns the blue light off.

Stone bringing their own relationship into the equation exacerbates this: Mel: You don’t know the Walsh family do you, live on the corner of Salisbury Road? Darrill: Know of them, why? Mel: The youngest brother, Trevor, ‘s seeing a fourteen-year-old girl. Darrill: (Shrugs) So? Mel: He’s 20. We had an anonymous call. Darrill: Sounds a bit dodgy. Mel: Yeah but still… Darrill: But still what? There’s more of an age gap between us. Mel: It’s not the age gap, Darrill, it’s the young girl’s age. It’s against the law.

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