Leora Hadas tracks creative frictions as Israeli TV dramatists see their work exported, adapted and as The Affair’s Hagai Levi puts it, taking a permanent detour from work that “started out as art.”
Piers Britton explores questions of representation and issues of authorship and creative control in “Avengers: Age of Ultron” and the Marvel Cinematic Universe.
Twitter serves not only as a platform for high-profile showrunners, but also a space where more nuanced television authorship is negotiated by writer-producers.
Casting news on Paul Thomas Anderson’s ‘Inherent Vice’ leads to a reflection on his past work, authorship, and his own inherent vices.
Recent episodes of Doctor Who and Supernatural take up the narrative of storyteller as God, raising questions about our fascination with the auteur.
After all the publicity focused on this “game-changing” episode, what interests me is the following question: is there such a thing as a distinctively Moffat-esque cliffhanger?
With episode 6.06 having transmitted in the US, and 6.07 – the ‘game-changing’ midseries finale – already broadcast in the UK, this week seems like a good time to ponder the issue of Doctor Who spoilers.
The obvious critical question is this: which Matthew Graham do we get here? The Life on Mars and Ashes to Ashes scribe? Or the ‘Fear Her’ and Bonekickers doppelganger?
There’s an illusion of transformative work here – although this seems to alter the rules of the Whoniverse, in fact it leaves all the game pieces in play as they were.
‘The Curse of the Black Spot’ serves up warmed-over intertextualities with gusto. But such manic repetition of generic fare seems to over-ride considerations of authorial distinction.
Moffat challenges the TV industry establishment far more notably than did series one through four. He’s the Tom Baker to Russell T. Davies’s Jon Pertwee.
The Antenna editors have asked some writers to contribute daily reports on the Society for Cinema and Media Studies (SCMS) conference in Los Angeles this week. First up–a Wednesday report from Derek Kompare.