Convergence and Divergence: Television Institutions and British Film Culture

Hannah Ruth Andrews

Convergence and Divergence: Television Institutions and British Film Culture

Theatre, Film, TV and Interactive Media

Research output: Contribution to conference › Paper

Abstract

The relationship between cinema and television over the past three decades has
become ever more symbiotic, at material, aesthetic and industrial levels. In Britain, as in many other European nations, this has been intensified by the increasing involvement of broadcast institutions in film culture, at the levels of production, distribution and exhibition. However, this media convergence has been met with powerful rhetorics of divergence; though the platforms through which film and television texts are consumed may be the same, the presentational modes and discourses which surround them are distinct. In this paper, I discuss how the rhetorical divergence between film and television in the UK (and beyond) has been maintained, and the particular role that television institutions have played in this process. I examine film and television paratexts to uncover the discursive separation between the two media, and consider the political consequences of such a distinction for publicly funded media institutions.

Original language	English
Publication status	Unpublished - 2013
Event	European Film Cultures - Lund, Sweden Duration: 8 Nov 2013 → 9 Nov 2013

Conference

Conference	European Film Cultures
Country/Territory	Sweden
City	Lund
Period	8/11/13 → 9/11/13

Cite this

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title = "Convergence and Divergence: Television Institutions and British Film Culture",

abstract = "The relationship between cinema and television over the past three decades hasbecome ever more symbiotic, at material, aesthetic and industrial levels. In Britain, as in many other European nations, this has been intensified by the increasing involvement of broadcast institutions in film culture, at the levels of production, distribution and exhibition. However, this media convergence has been met with powerful rhetorics of divergence; though the platforms through which film and television texts are consumed may be the same, the presentational modes and discourses which surround them are distinct. In this paper, I discuss how the rhetorical divergence between film and television in the UK (and beyond) has been maintained, and the particular role that television institutions have played in this process. I examine film and television paratexts to uncover the discursive separation between the two media, and consider the political consequences of such a distinction for publicly funded media institutions.",

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N2 - The relationship between cinema and television over the past three decades hasbecome ever more symbiotic, at material, aesthetic and industrial levels. In Britain, as in many other European nations, this has been intensified by the increasing involvement of broadcast institutions in film culture, at the levels of production, distribution and exhibition. However, this media convergence has been met with powerful rhetorics of divergence; though the platforms through which film and television texts are consumed may be the same, the presentational modes and discourses which surround them are distinct. In this paper, I discuss how the rhetorical divergence between film and television in the UK (and beyond) has been maintained, and the particular role that television institutions have played in this process. I examine film and television paratexts to uncover the discursive separation between the two media, and consider the political consequences of such a distinction for publicly funded media institutions.

AB - The relationship between cinema and television over the past three decades hasbecome ever more symbiotic, at material, aesthetic and industrial levels. In Britain, as in many other European nations, this has been intensified by the increasing involvement of broadcast institutions in film culture, at the levels of production, distribution and exhibition. However, this media convergence has been met with powerful rhetorics of divergence; though the platforms through which film and television texts are consumed may be the same, the presentational modes and discourses which surround them are distinct. In this paper, I discuss how the rhetorical divergence between film and television in the UK (and beyond) has been maintained, and the particular role that television institutions have played in this process. I examine film and television paratexts to uncover the discursive separation between the two media, and consider the political consequences of such a distinction for publicly funded media institutions.

M3 - Paper

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Y2 - 8 November 2013 through 9 November 2013

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