The early twenty-first century has seen the emergence of a new
style of television drama in Britain that adopts the professional
practices and production values of high-end American television
while remaining emphatically 'British' in content and outlook. This
book analyses eight of these dramas - Spooks, Foyle's War, Hustle,
Life on Mars, Ashes to Ashes, Downton Abbey, Sherlock and
Broadchurch - which have all proved popular with audiences and in
their different ways represent the thematic and formal paradigms of
post-millennial drama. James Chapman locates new British drama in
its institutional and economic contexts, considers their critical
and popular reception, and analyses their social politics in
relation to their representations of class, gender and nationhood.
He demonstrates how contemporary drama has mobilised both new and
residual elements in re-configuring genres such as the spy series,
cop show and costume drama for the cultural tastes of modern
audiences. And it concludes that television drama has played an
integral role in both the economic and the cultural export of
'Britishness'.
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