We are in the process of editing a volume on "Auteur TV" and are welcoming papers relating to and dealing with the concept of auteurism and television.
Ever since HBO's famous slogan "It's Not TV, It's HBO" launched in 1996, co-called quality televison has reached a new level of marketing, recognition, and indeed quality. With other networks imitating the formula, the "HBO effect" took hold and triggered a wave of creative output.
This turn to quality set off two secondary shifts: (a) Contemporary televison staged the resurgence of the 'auteur', and thus through aesthetic interaction high-end US TV became a repository of many trademarks associated with European art cinema. (b) With the digital revolution in full swing, televison became faster, cheaper, and yet better. America transformed into an "on-demand nation," indulging in junk food television.
The auteurist turn to art/trash will be the focus of this book. Papers might address but are not limited to the following questions:
- How does the resurgence of the 'auteur' in televison series introduce a line of demarcation within contemporary quality TV?
- Is the series' appeal primarily induced by trashy images? How does this aesthetic relate to 'auteur' cinema?
- Contesting heteronormativity: Is there a new way of Lifestyle-TV?
- What popular genres are reactivated here and how are they transformed?
- How does the turn to nostalgia correlate to trash aesthetics?
- How do specific formats, 30 minutes or 60 minutes respectively, influence the auteur-trash nexus as well as patterns of consumption and reception?
- What kinds of publicness form themselves around these series? How do these publics relate to social strata?
- Markets and merchandise: How is the identity-constituting function triggered by such TV series and thus by identification with art/trash?
Chapter proposals in English or German are welcome. There is no word limit but submissions should include a title and a brief personal biography of no more than 150 words at the end.
Publishing Information: Series Wissenschaft und Kunst (Universitätsverlag Winter, Heidelberg); Series Editors: Sabine Coelsch-Foisner (University of Salzburg, A), Dimiter Daphinoff (Université de Fribourg, CH)
If you are interested in being a part of this publication, please submit your article to both editors email@example.com and firstname.lastname@example.org by September 7, 2014
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