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VOLUME VI, No 01 · SUMMER 2020

* photo credits

ALMA MATER

STUDIORUM UNIVERSITÀ DI BOLOGNA · UNIVERSITAT POLITÈCNICA DE VALÈNCIA

SERIES

INTERNATIONAL JOURNAL OF

TV SERIAL NARRATIVES

VOLUME VI, No 01 · SUMMER 2020

EDITORS

Veronica Innocenti, Héctor J. Pérez and Guglielmo Pescatore.

ASSOCIATE EDITOR

Elliott Logan.

SECRETARIES

Luca Barra, Paola Brembilla, Jesús Jiménez Varea and Paolo Noto.

EDITORIAL BOARD

Marta Boni, Université de Montréal (Canada), Concepción Cascajosa, Universidad Carlos III (Spain), Fernando Canet Centellas, Universitat Politècnica de València (Spain), Alexander Dhoest, Universiteit Antwerpen (Belgium), Julie Gueguen, Paris 3 (France), Lothar Mikos, Hochschule für Film und Fernsehen “Konrad Wolf" in Potsdam- Babelsberg (Germany), Jason Mittell, Middlebury College (USA), Roberta Pearson, University of Nottingham (UK), Xavier Pérez Torio, Universitat Pompeu Fabra (Spain), Veneza Ronsini, Universidade Federal de Santa María (Brasil), Massimo Scaglioni, Università Cattolica di Milano (Italy), Murray Smith, University of Kent (UK).

SCIENTIFIC COMMITEE

Gunhild Agger, Aalborg Universitet (Denmark), Sarah Cardwell, University of Kent (UK), Sonja de Leeuw, Universiteit Utrecht (Netherlands), Sergio Dias Branco, Universidade de Coimbra (Portugal), Elizabeth Evans, University of Nottingham (UK), Aldo Grasso, Università Cattolica di Milano (Italy), Sarah Hatchuel, Universitè Le Havre (France), Matthew Hills, Aberystwyth University (UK), François Charo Lacalle, Universitat Autònoma de Barcelona (Spain), Enrico Menduni, Università Roma Tre (Italy), Manuel Palacio, Universidad Carlos III (Spain), Agnes Petho, Sapientia Hungarian University of (Germany), Guillaume Soulez, Paris 3 (France), Imanol Zumalde,

Universidad del País Vasco (Spain).

CONTRIBUTORS FOR THE PRESENT ISSUE

Giorgio Avezzù (Università di Bologna), Claire Cornillon (Université de Nîmes), Elisa Farinacci (Università di Bologna), Sarah Hatchuel (Université Paul-Valéry Montpellier 3), Richard Hewett (University of Salford), Daniela Mazur (Federal Fluminense University), Melina Meimaridis (Federal Fluminense University), Dana Renga (The Ohio State University), Helge Ridderstrøm (Oslo Metropolitan University), Daniel Rios (Federal Fluminense University), Marta Rocchi (Università di Bologna), Omar Sayfo (Utrecht University), Lynge Stegger Gemzøe (Aalborg University).

READERS (ISSUES 1 AND 2, 2019)

Fabio Andreazza, Giorgio Avezzù, Tom Baudinette, Paola Brembilla, Denis Brotto, Mirko Degli Esposti, Ilaria De Pascalis, Gregory Evon, Riccardo Fassone, Adriano Ferraresi, Damiano Garofalo, Dom Holdaway, Seung-hoon Jeong, Jason Jones, Sarah Keith, Valentina Re, Gianluigi Rossini, Geng Song, John Stephens, Marco Teti, Katja

Valaskivi, Stephen Yiu-wai Chu, Li Zeng.

DESIGN AND LAYOUT

Martín Gràfic

PUBLISHED WITH THE ASSISTANCE OF

ABIS - AlmaDL, Università di Bologna

This journal provides immediate open access to its content on the principle that making research freely available to the public supports a greater global exchange of knowledge. It releases its articles under the terms of Creative Commons Attribution

3.0 Unported License. This license allows anyone to download,

reuse, re-print, modify, distribute and/or copy the contributions. The works must be properly attributed to its author(s). It is not necessary to ask further permissions both to author(s) or journal board, although you are kindly requested to inform the journal for every reuse of the papers. Authors who publish on this journal maintain the copy- rights. Authors are welcome to post pre-submission versions, the original submitted version of the manuscript (preprint) and the final draft post-refereeing (postprint) on a personal website, a collaborative wiki, departmental website, social media web sites, institutional repository or non-commercial subject-based repositories. Self-archiving can happen only upon the accep tance of the submission. The journal has neither article processing charges nor sub mission processing fees.

Cover illustration

Javier Pastor

SERIES has two main purposes: first, to respond to the surge of scholarly interest in TV series in the past few years, and compensate for the lack of international journals special izing in TV seriality; and second, to focus on TV seriality through the involvement of scholars and readers from both the English-speaking world and the Mediterranean and Latin American regions. This is the reason why the journal"s official languages are Italian, Spanish and English. SERIES is an open access and peer reviewed journal, with ISSN and indexed in major international databases. SERIES publishes 2 issues per year. This is a joint project by the Universitat Politècnica de València (Escola Politècnica Superior de Gandia) and the

Università di Bologna.

E-MAIL ADDRESS

seriesjournal.org@gmail.com

HOMEPAGE

series.unibo.it ISSN

2421-454X

DOI 05 17 29
43
57
65
77
91
107

NARRATIVES / AESTHETICS / CRITICISM

WHO'S IN CHARGE?: CHANGING CHARACTER

AGENCY IN EARLY

DOCTOR WHO

RICHARD HEWETT

'THE SECOND WHAT': SCIENCE, TRAGEDY

AND THE MENTAL ABYSS IN

FORENSIC FILES

HELGE RIDDERSTRØM

SHONDA RHIMES'S TGIT: REPRESENTATION

OF WOMANHOOD AND BLACKNESS

MARTA ROCCHI, ELISA FARINACCI

HOLLYWOOD (MIS)REPRESENTATIONS OF ARABS AND

THE MIDDLE EAST FROM A PRODUCTION PERSPECTIVE

- THE CASE OF FX CHANNEL'S

TYRANT

OMAR SAYFO

ANALYSING SEMI-SERIALIZED TELEVISION FICTIONS:

THE ETHICAL STAKES OF NARRATIVE STRUCTURES

SARAH HATCHUEL, CLAIRE CORNILLON

PRODUCTION / MARKET / STRATEGIES

THE STREAMING WARS IN THE GLOBAL PERIPHERY:

A GLIMPSE FROM BRAZIL

MELINA MEIMARIDIS, DANIELA MAZUR, DANIEL RIOS

CASTING MY BRILLIANT FRIEND'S AUTHENTIC STARDOM

DANA RENGA

CULTURE / RECEPTION / CONSUMPTION

ITALIAN FICTION AS VIEWED FROM A DISTANCE.

ANOMALIES IN THE CORRELATION BETWEEN

NATIONAL AND REGIONAL SUCCESS

GIORGIO AVEZZÙ

REMAKING TELEVISION SERIES: NATIONAL

CULTURE AND MEDIA SYSTEM THEORY

LYNGE STEGGER GEMZØE

INDEX

05SERIES VOLUME VI, Nº 1, SUMMER 2020: 05-16

INTERNATIONAL JOURNAL OF TV SERIAL NARRATIVESDOI https://doi.org/10.6092/issn.2421-454X/9805

ISSN 2421-454X

NARRATIVES / AESTHETICS / CRITICISM

WHO'S IN CHARGE?: CHANGING CHARACTER AGENCY IN EARLY DOCTOR WHO

RICHARD HEWETT

Name Richard Hewett

Academic centre

University of Salford, UK

E-mail address

r.j.hewett@salford.ac.uk

KEYWORDS

; character agency; production context; television narrative.

ABSTRACT

This article investigates the impact of production process upon character agency in early , focusing on the period between 1963 and 1966, during which time William Hartnell starred as the Doctor. As originally conceived by Sydney Newman, Verity Lambert and David

Whitaker, it is debatable to what extent the Doctor could be regarded as the ‘hero" of the narrative, as this role was

often better fulfilled by his human companions, initially represented by teachers Ian Chesterton (William Russell) and Barbara Wright (Jacqueline Hill), who provided a ready point of identification for viewers. This situation changed significantly during Hartnell"s tenure, but the shifts in agency that occurred were so radical as to seem almost , reflecting industry pressures that typified television drama of the time. The extent to which these changes were influenced by the programme"s rapid turnaround are examined here via a combination of textual analysis and historical production research, before being briefly contrasted with the modern version of starring Jodie Whittaker, whose production context allows for more considered development of long-term character arcs.

06SERIES VOLUME VI, Nº 1, SUMMER 2020: 05-16

INTERNATIONAL JOURNAL OF TV SERIAL NARRATIVESDOI https://doi.org/10.6092/issn.2421-454X/9805

ISSN 2421-454X

NARRATIVES / AESTHETICS / CRITICISM

> RICHARD HEWETT WHO"S IN CHARGE?: CHANGING CHARACTER AGENCY IN EARLY

1. INTRODUCTION

Originally launched on the 23rd of November 1963,

(1963-1989; 1996; 2005-) is one of television"s most en during examples of continuing drama. Focusing on the adven- tures of a mysterious alien known only as ‘the Doctor", who journeys through space and time in a dimensionally transcen dental ship known as the TARDIS, 1 the series quickly became a mainstay of the UK"s Saturday evening television schedule. The programme"s longevity was assured by the introduction of the concept of ‘regeneration", through which the actor playing the Doctor could physically transform into another when required. In this manner the programme periodically reinvented itself over the twenty-six years of its initial run, before being ‘rested" in 1990. Aside of a US co-production in 1996 the hiatus lasted until 2005, when the programme was successfully re-launched, achieving levels of popularity and critical acclaim that arguably surpassed even those of the original in its heyday.

As a result of its longevity, has received ex

tensive academic attention. Two key texts have examined the impact of changing production process upon the pro gramme"s development: John Tulloch and Manuel Alvarado"s (1983), which covers vari ous aspects of the show"s production and reception over its first twenty years; and Matt Hills" (2010), which examines the 2005 re-launch. These demonstrate the extent to which the 1963 iteration of and its

2005 successor were designed by their respective produc

tion teams to maximise their appeal to audiences of the day. Perhaps unsurprisingly, there are several commonalities be tween the two. In each, recognisably contemporary human characters (teachers Ian Chesterton and Barbara Wright in the original; shop assistant Rose Tyler in the re-launch) are initially introduced in their work environments, providing ready-made points of identification for the viewer, before being spirited away at the end of their introductory episode by the Doctor (William Hartnell and Christopher Eccleston, respectively) in the

TARDIS. However, the very different pro-

duction eras in which these versions were made also result in direct contrasts in terms of how stories and characters are conceived, particularly with regard to the type of ‘agency" allocated to the Doctor, and the extent to which narratives revolve around this character. 1

Time And Relative Dimensions In Space.

This article will draw upon A.J. Greimas" actantial mod- el to investigate the impact of production context on the type of agency exercised by the character of the Doctor in early , focusing on William Hartnell"s tenure from November 1963 to October 1966. While any charac ter can possess agency, i.e. the power to influence events, the aim here is to examine how behind-the-scenes produc tion factors influenced the extent to which the Doctor can be regarded, in Greimas" terms, as fulfilling the role of the ‘subject": the central agent or protagonist. It is the mystery surrounding the Doctor"s identity that provides the pro gramme"s title, which ostensibly indicates that s/he 2 should be regarded as the central character. This interpretation is supported by the fact that, in both 1963 and 2005, William Hartnell"s and Christopher Ecccleston"s names appear first in the on-screen credits. However, the central character need not necessarily equate with the subject in Greimas" sense, and in both versions of the programme the characters of the ‘companions" play extremely proactive roles. Although, as custodian and pilot of the

TARDIS, the Doctor could be read

as the chief narrative driver, it is the companions" curiosity about him and his ship that provides the inciting incident for their adventures together. In the original series the question of which character is being designated as subject is argu ably less apparent than in 2005, when Eccleston"s Doctor, though enigmatic, is overtly pitched as a heroic figure bat tling clearly defined antagonists, even if the audience initial- ly experiences these narratives through the eyes of Rose the companion. In the 1960s this positioning of the Doctor as subject is less straightforward, and the type of agency exer cised by the character shifts significantly during Hartnell"s three years in the role. As will be seen, in the first year of production the subject role was frequently better fulfilled by companions Ian Chesterton (William Russell) and (to a lesser extent) Barbara Wright (Jacqueline Hill), while the second year saw a transition as the Doctor began to adopt a more conventionally heroic position. In the third year the Doctor"s agency, despite the character having been more clearly positioned as the subject, was again reduced, due toquotesdbs_dbs46.pdfusesText_46

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