Comments on: Bollywood, Hollywood — Trollywood? http://blog.commarts.wisc.edu/2014/02/06/bollywood-hollywood-trollywood/ Responses to Media and Culture Fri, 12 Feb 2016 19:35:04 +0000 hourly 1 https://wordpress.org/?v=4.7.5 By: Michele Hilmes http://blog.commarts.wisc.edu/2014/02/06/bollywood-hollywood-trollywood/comment-page-1/#comment-427454 Tue, 11 Feb 2014 11:19:04 +0000 http://blog.commarts.wisc.edu/?p=23572#comment-427454 Excellent questions, Myles — I’ve been focusing on high-end drama and documentary, which are the genres best represented in the BFI’s database. They’re also the primary types of programs that have attracted co-production funding, since they’re expensive! It’s interesting that comedy, as a broad genre, tends to be more specifically national, at least in Britain. Other genres where transnational co-production more frequently occurs are children’s programs and animation (which overlap). And, since I’m looking at relationships over time, both my own research questions (and the BFI’s data) tend to emphasize series rather than stand-alone programs, which leaves out the performance/events genre.

]]> By: Myles McNutt http://blog.commarts.wisc.edu/2014/02/06/bollywood-hollywood-trollywood/comment-page-1/#comment-427321 Fri, 07 Feb 2014 05:35:14 +0000 http://blog.commarts.wisc.edu/?p=23572#comment-427321 Excited to see more on this in the future, Michele.

Meanwhile, while acknowledging that you could offer an answer to this question in future posts and that it is predicated on the admittedly unreliable database in question, I did want to consider how different forms of television function within the broader genre you’re tracking here. I understand the utility of the term “genre” to describe the output of this cultural relationship, but I’m wondering how we distinguish between documentary and scripted programming, or between drama and comedy, within this data. The complexities of co-production extend to the sheer volume of bedfellows, who bring with them a range of different brands and programming strategies, resulting in a distinct range of program formats within the broader generic category being outlines—I don’t know if the BFI archives had any discrete data points regarding form (or genre within the broader genre category), but it strikes me as an important variable I’d be interested to see laid out quantitatively.

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