By Mike Wayne
20 years of institutional and structural alterations in tv broadcasting have either trained and mirrored profound shifts in British tradition. How have programme makers themselves approached the tensions and anxieties of the final two decades? Dissident Voices examines the ways that sure varieties and genres have registered a interval of cultural upheaval and to what quantity they've got built a extra reflexive and a extra serious tv tradition. This assortment covers a huge diversity of matters together with classification, gender and sexuality, the monarchy, identification and nationhood. It examines their illustration in quite a few dramas and genres, together with police procedurals, documentaries, video game indicates, sitcoms and satire. The participants problem the suggestion of tv as a bland purveyor of the established order, providing it as a fancy and in all probability subversive medium. tv tradition is portrayed the following as nonetheless proof against the entire regulate of both markets or ideologies. In an age of political consensus, it really is a massive and renowned web site the place nervousness approximately and dissent from present social traits often floor.
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Additional resources for Dissident Voices: The Politics of Television and Cultural Change
Across the three series there is a definite progression. The first series introduces us to the three main characters; Tony Clark (Neil Pearson), his ‘bag man’ Harry Naylor (Tom Georgeson) and Maureen Connell (Siobhan Redmond), all newly arrived at CIB. At one level the first series is quite ‘local’ in its focus on accusations of and actual police malpractice at various police stations. But the series culminates by uncovering a web of corruption, hypocrisy and coverups, with CIB Chief Superintendent John Deakin at its head.
23 Garnett, interview, 6 April 1993. ) Behind the Screens: The Structure of British Television in the Nineties (Lawrence and Wishart, 1994), pp. 58–62. 25 G. F. Newman, interviewed by Peter Keighron, 16 April 1993. COUNTER-HEGEMONIC STRATEGIES IN BETWEEN THE LINES 39 26 Geoffrey Hurd, ‘The Television Presentation of the Police’ in Tony Bennett, Susan BoydBowman, Colin Mercer and Janet Woollacott (eds) Popular Television and Film (BFI, 1981), pp. 64–5. 27 Alan Clarke, ‘“This is not the boy scouts”: Television police series and definitions of law and order’ in Tony Bennett, Colin Mercer and Janet Woolacott (eds) Popular Culture and Social Relations (Open University Press, 1986), pp.
6 Lukács also made a distinction between realist and naturalist representation. He criticised the latter as severely as he did modernism. He claimed that naturalism’s aspirations to a phoney objectivity, its fetishisation of appearance and immediacy, its investment in the mundane and ordinary were all symptomatic of its acceptance of capitalist society as inevitable. 7 For debates about modernism, we have This Life, for debates about naturalism, we have soaps like EastEnders and for debates about Lukácsian realism, we have The Grand.