Notice bibliographique
Résumé
This is an accepted article with a DOI pre-assigned that is not yet published.[A] The business dynamics of scripted drama and comedy production have changed considerably in the last two decades. Once based in domestic-first sectors, the business has become predominantly international in ownership (Chalaby 2005) and in terms of imagined audiences (Athique 2017; Lotz 2025). This special issue collects accounts that analyse these changes from different markets around the globe to identify patterns and underlying conditions that account for differences among experiences. Although the pattern toward drama reach is global, the implications of this industrial change vary significantly market to market and can best be understood by accounts specifically grounded national dynamics (see Lotz and Lobato 2023; Lotz and Kang 2024; NB both these collections foreground streaming whereas this special issue explores the dynamics of drama/comedy production and its ties with national culture). The articles present an account of how scripted drama production has changed in the last two decades and the implications of those changes for different national industries, systems of regulations, and public service traditions. The introduction to the section will frame the general industrial changes and provide analysis that places the individual articles in conversation in order to uncover patterns in experience and identify their causes. The articles explore factors such as: · How have levels of production changed relative to historical norms? · What is the role of streaming services in commissioning drama and how has the role of linear television channels changed as a result? · To what extent are international collaborations and co-productions being used and how is this different from previous norms? · What is the state of advertising spending in the market and what implications have decreases had on the sustainability of existing ad-reliant services, such as commercial television? Has drama/comedy commissioning been particularly affected by shifts in the ad-funded television business? · What narrative trends and innovations in drama made for linear and streaming services have emerged? Can they be tied to shifting industrial conditions? · What is the role of public service broadcasters in national storytelling in the market, and how is that role evolving relative to broader shifts? · To what extent can changes be tied to whether dramas are addressing the demand for culturally diverse and inclusive representation on screen and behind the camera? · To what extent can regulatory and funding circumstances that support drama made first and foremost for domestic audiences be identified to influence developments? [B] We organized a well-attended workshop for the Media Industry Conference 2024 on this topic and have first invited those panellists to submit articles. Depending on the number of commitments, we will invite other submissions from colleagues known to work on this topic with an aim of adding further diversity to the markets explored (geographically; in terms of a history of national drama/comedy production; professional rank of authors). Our preliminary invitations will lead to articles on Australia, Canada, Denmark, Norway, South Korea, and the UK. We have subsequent contributors with expertise on Brazil, Bangladesh, Poland, Turkey, Spain, and Japan in mind, with an aim of 8-9 articles. We are aware of the costs involved with more than 35,000 words. We would target June 2025 as a submission date for review of the articles.
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,001 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,025 | 0,006 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; les deux têtes enseignantes s’accordent sur ce qui est montré ici.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».