A01=Jostein Gripsrud
Act Ii Finale
Act III
audience ethnography
Author_Jostein Gripsrud
Bergens Tidende
blake
broadcasting
Broadcasting Council
carrington
Category=ATJ
Category=JBCT
Category=NH
Child's Tv
Child’s Tv
corporation
critical analysis of soap opera reception
cultural policy research
Dynasty Text
eq_art-fashion-photography
eq_bestseller
eq_history
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
eq_society-politics
feminist media analysis
La Mirage
Mainstream Mass Communication Research
media reception studies
Narrative Desire
norwegian
opera
Pop Corn
prime
Prime Time Soap Operas
Prime Time Soaps
semiotic analysis television
Shale Oil Process
soap
Soap Opera
Soap Opera Form
Soap Opera Genre
Soap Opera Narrative
Stavanger Aftenblad
television genre theory
Television System
text
time
Title Sequence
Tragic Structure
Transnational Popular Culture
Tv Melodrama
Tv Text
West Germany
Product details
- ISBN 9780415085991
- Weight: 620g
- Dimensions: 156 x 234mm
- Publication Date: 02 Mar 1995
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Paperback
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The Dynasty Years documents and analyses in detail 'the Dynasty phenomenon', the hotly debated success of the Hollywood-made 'Rolls Royce of a primetime soap' which heralded a profound transformation of European television.
From the operatic camp of Krystle and Alexis' fight in the lilypond or the Moldavian wedding massacre to the unprecedented gay sub-plot, Dynasty represented, in the words of co-producer Esther Shapiro, "the ultimate dollhouse fantasy for middle-aged women". Using evidence from audience survey results, newspaper and magazine clippings and letters to broadcasters and drawing on semiotics, psychoanalysis, feminism and critical social theories, Jostein Gripsrud examines every aspect of Dynasty's production, reception and context.
The result is a groundbreaking critical study. Jostein Gripsrud offers a theoretical but empirically grounded critique of many central positions in media studies, including notions of 'audience resistance' and the 'sovereign' audience and its freedom in meaning-making, arguing against what he perceives as the uncritical celebrations of the soap-opera genre in much contemporary media criticism.
