„We are not HBO, We are Television

k 2014

„We are not HBO, We are Television": A Post-socialist Writers' Room

SZCZEPANIK, Petr a Eva PJAJČÍKOVÁ

Základní údaje

Originální název

„We are not HBO, We are Television": A Post-socialist Writers' Room

Autoři

SZCZEPANIK, Petr a Eva PJAJČÍKOVÁ

Vydání

The Screen Industries In East-Central Europe IV: Industry of Prestige. An International Conference, Olomouc, 28.-29. 11. 2014, 2014

Další údaje

Jazyk

angličtina

Typ výsledku

Prezentace na konferencích

Obor

Umění, architektura, kulturní dědictví

Stát vydavatele

Česká republika

Utajení

není předmětem státního či obchodního tajemství

Označené pro přenos do RIV

Ano

Kód RIV

RIV/00216224:14210/14:00083539

Organizační jednotka

Filozofická fakulta

Klíčová slova česky

quality television; HBO; HBO Czech

Klíčová slova anglicky

quality television; HBO; HBO Czech

Štítky

rivok

Příznaky

Mezinárodní význam

Změněno: 22. 3. 2016 23:18, doc. Mgr. Pavel Skopal, Ph.D.

Anotace

V originále

This paper focuses on the differing expectations and authorial subjectivities of the agents and institutions involved in the production of The First Republic - a melodramatic historical crime drama that provides a lens to examine how the development and production of Czech television series has changed since the mid 2000s. The series exemplifies a shift away from the longstanding Czech tradition of having one or two writers pen six- or thirteen-part screenplays as one whole in favor of having a writing team collaborate on dozens of screenplays. The First Republic also illustrates the emergence of family entertainment as a ČT programming slot to compete with private companies for the primetime soap opera audience, as well as a greater effort to follow trends in American and, to some extent, European quality television. The initial conception of the series posited a complex, gritty historical drama, but this idea gave way to what many critics saw as a high-end soap. Shifts in power between ČT, its independent production partners (together with the series’ director), and head writer were symptoms of the changing position of public service television on the Czech market and ČT’s relationships with private producers. This paper sheds light on the social logic that drove this collaborative effort. It focuses on two-way “mediation” at different stages and sites of the production process; on the institutional frameworks, social relations, and aesthetic conditions that mediated the text during its development; and, to some extent, how the text mediated social relations between those involved in its production. Research for this chapter is based on Eva Pjajčíková’s experience as a writer intern on The First Republic, her nine-month participant observation of the writing team, and interviews both authors conducted with participants in the series.

Návaznosti

MUNI/A/1172/2014, interní kód MU

Název: Česká kinematografie a proces kulturního transferu

Investor: Masarykova univerzita, Česká kinematografie a proces kulturního transferu, DO R. 2020_Kategorie A - Specifický výzkum - Studentské výzkumné projekty

Citovat

SZCZEPANIK, Petr a Eva PJAJČÍKOVÁ. „We are not HBO, We are Television": A Post-socialist Writers' Room. In The Screen Industries In East-Central Europe IV: Industry of Prestige. An International Conference, Olomouc, 28.-29. 11. 2014. 2014.

@proceedings{1308024,
   author = {Szczepanik, Petr and Pjajčíková, Eva},
   booktitle = {The Screen Industries In East-Central Europe IV: Industry of Prestige. An International Conference, Olomouc, 28.-29. 11. 2014},
   keywords = {quality television; HBO; HBO Czech},
   language = {eng},
   title = {„We are not HBO, We are Television": A Post-socialist Writers' Room},
   year = {2014}
}

TY  - CONF
ID  - 1308024
AU  - Szczepanik, Petr - Pjajčíková, Eva
PY  - 2014
TI  - „We are not HBO, We are Television": A Post-socialist Writers' Room
KW  - quality television
KW  - HBO
KW  - HBO Czech
N2  - This paper focuses on the differing expectations and authorial subjectivities of the agents and institutions involved in the production of The First Republic - a melodramatic historical crime drama that provides a lens to examine how the development and production of Czech television series has changed since the mid 2000s. The series exemplifies a shift away from the longstanding Czech tradition of having one or two writers pen six- or thirteen-part screenplays as one whole in favor of having a writing team collaborate on dozens of screenplays. The First Republic also illustrates the emergence of family entertainment as a ČT programming slot to compete with private companies for the primetime soap opera audience, as well as a greater effort to follow trends in American and, to some extent, European quality television. The initial conception of the series posited a complex, gritty historical drama, but this idea gave way to what many critics saw as a high-end soap. Shifts in power between ČT, its independent production partners (together with the series’ director), and head writer were symptoms of the changing position of public service television on the Czech market and ČT’s relationships with private producers. This paper sheds light on the social logic that drove this collaborative effort. It focuses on two-way “mediation” at different stages and sites of the production process; on the institutional frameworks, social relations, and aesthetic conditions that mediated the text during its development; and, to some extent, how the text mediated social relations between those involved in its production. Research for this chapter is based on Eva Pjajčíková’s experience as a writer intern on The First Republic, her nine-month participant observation of the writing team, and interviews both authors conducted with participants in the series.
ER  -

SZCZEPANIK, Petr a Eva PJAJČÍKOVÁ. „We are not HBO, We are Television'': A Post-socialist Writers' Room. In \textit{The Screen Industries In East-Central Europe IV: Industry of Prestige. An International Conference, Olomouc, 28.-29. 11. 2014}. 2014.

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