Piers Britton reflects on the unacknowledged divergences in use of the term “aesthetic” within television studies, and suggests that some of the elisions are leading to unproductive argument.
What I mean by “transnational television co-production,” the tensions that shape it, and why I think it’s worth studying.
In a text so concerned with updating the Victorian source material to the contemporary period, there is very little else to the representation of Chineseness; it seems that Sherlock Holmes can use SMS messaging and GPS tracking, but Chinese culture is rendered remarkably narrow via such reductive stereotypes.
Over the past few weeks, we’ve had the opportunity to watch a fandom take root at double speed. And despite the purpose of this Antenna series, I’m not talking about Mad Men.
This summer’s premiere of BBC’s new Sherlock raises issues on how one modernizes the Victorian Sherlock Holmes to fit in an alternate 21st century London, as well as shaping a world that a century’s worth of Holmes has never impacted.
In the end, while individual plot points, objects, and places are important for fans to recognize, the most successful approach seems to come about when the writer extrapolates the character’s underlying identity, exploring those aspects that remain the same in the new setting, and how they will manifest.