This monograph recuperates the concept of entertainment as a legitimate basis for ‘small screen’ criticism. It suggests that critical approaches to television might treat the text as an object of potential which actively engages and provides for aesthetic experience through entertainment. Aesthetic experience is characterised by emotion, and this study shows how the textual production of specifically forward feelings such as anticipation, aspiration, fear or dread may be mobilised and made sense of, shaping our sense of the future and its objects of hope. The argument is demonstrated by case studies arranged from ‘light’ to ‘dark’ in tone - as varied as Eurovision and Succession, The Repair Shop and The Leftovers – showing how these provide potentially significant, affecting encounters that are ‘hopeful’ in varying degrees and guises. Hope is adopted both as a theme of analysis and as a critical strategy of interpretation which privileges entertainment efficacy, and thus moves towards a more viewer-centric appreciation of cultural value.
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Helen Piper is Associate Professor in Television Studies in the Department of Film and Television at the University of Bristol. She has published widely on television forms, aesthetics and genres within the categories of reality television, light entertainment and crime drama, including the monograph The TV Detective - Voices of Dissent in Contemporary Television which was awarded the BAFTSS Best Book Award in 2016. Her academic career follows a previous career as a talent agent and working as a senior manager for BBC Worldwide and BBC Entertainment.
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Hardcover. Etat : new. Hardcover. This monograph recuperates the concept of entertainment as a legitimate basis for 'small screen' criticism. It suggests that critical approaches to television might treat the text as an object of potential which actively engages and provides for aesthetic experience through entertainment.Aesthetic experience is characterised by emotion, and this study shows how the textual production of specifically forward feelings such as anticipation, aspiration, fear or dread may be mobilised and made sense of, shaping our sense of the future and its objects of hope. The argument is demonstrated by case studies arranged from 'light' to 'dark' in tone - as varied as Eurovision and Succession, The Repair Shop and The Leftovers showing how these provide potentially significant, affecting encounters that are 'hopeful' in varying degrees and guises. Hope is adopted both as a theme of analysis and as a critical strategy of interpretation which privileges entertainment efficacy, and thus moves towards a more viewer-centric appreciation of cultural value. Explores the aesthetic and affective values of entertainment and its relation to cultural hope and aspiration. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. N° de réf. du vendeur 9781399513814
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