Academic literature on the topic 'Sherlock (Television program : 2010- )'
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Journal articles on the topic "Sherlock (Television program : 2010- )"
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De Figueiredo, Camila Augusta Pires. "In the post-TV era: transmedia and fandom in Sherlock, by Moffat and Gatiss." Letras de Hoje 55, no. 1 (April 28, 2020): 33789. http://dx.doi.org/10.15448/1984-7726.2020.1.33789.
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Serial narratives such as TV series have their own language, genres and narrative tools, according to their media specificities. It is observed that the television of today is going through a process of rapid cultural and technological transformations. Such advances have led to profound changes in the formats of the series, as well as in their modes of production and consumption. As for the production aspects, for example, we observe the creation of new narrative models in which the technological resources are shaped as extensions of the television product, creating a multiplatform or transmedial narrative experience. In this paper we will examine the case of the television series Sherlock by Steven Moffat and Mark Gatiss, broadcasted by BBC, as an example of a program designed for a transmedia television, one that encouraged the emergence of an engaged audience willing to follow the series beyond the TV screen across other media platforms.***Na era da pós-TV: transmídia e fandom em Sherlock, de Moffat e Gatiss***Narrativas seriais como as séries de televisão possuem linguagem, gêneros e ferramentas narrativas próprias, conforme suas especificidades midiáticas. Observa-se que a televisão de hoje passa por um processo de rápidas transformações culturais e tecnológicas. Tais avanços têm levado a profundas modificações nos formatos, modos de produção e consumo das séries. Em relação aos aspectos de produção, por exemplo, observa-se a criação de novos modelos narrativos nos quais os recursos tecnológicos se configuram como uma extensão do produto televisivo, criando uma experiência narrativa multiplataforma ou transmidiática. Neste trabalho analisaremos o caso da série televisiva Sherlock, de Steven Moffat e Mark Gatiss exibida pela BBC, como um exemplo de programa elaborado para uma televisão transmidiática que estimulou o surgimento de um público engajado, disposto a seguir a série para além da tela de TV.Palavras-chave: televisão; série de TV; Sherlock; transmídia; pós-TV.
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Hewett, Richard. "Essentially English: Sherlock Holmes at the BBC." Journal of British Cinema and Television 13, no. 1 (January 2016): 1–18. http://dx.doi.org/10.3366/jbctv.2016.0293.
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Sir Arthur Conan Doyle's Sherlock Holmes stories, currently enjoying renewed popularity on television via the BBC's Sherlock (2010–), have been adapted for the screen countless times around the world. Arguably the best remembered are Granada's long-running strand with Jeremy Brett (1984–94) and the Universal film series of the 1940s featuring Basil Rathbone and Nigel Bruce. Less frequently cited, however, are the two series produced by the BBC between 1965 and 1968, in which first Douglas Wilmer and later Peter Cushing took on the mantle of the Baker Street detective. Typically for the time – but against the wishes of the Conan Doyle estate – these programmes adopted a multi-camera studio model: a mode of production which made them less attractive to US networks than the single-camera 35mm film output of commercial rivals such as ITC. Drawing upon material from the BBC's Written Archives Centre, this article investigates the motivations underpinning the Corporation's refusal to accommodate the estate's exhortations to seek American co-production and utilise single camera filming, not least of which was the BBC's stated desire to maintain the ‘essentially English’ quality of Sherlock Holmes. This decision would have significant repercussions for the series’ overseas saleability and – despite impressive viewing figures and positive audience reaction at home in the UK – helped to contribute to its ‘forgotten’ status with regard to the television canon.
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Requena Hidalgo, Cora. "REESCRITURAS TRANSMEDIA DEL UNIVERSO SHERLOCK: DE DOYLE A LA BBC." INDEX COMUNICACION 13, no. 01 (January 15, 2023): 175–95. http://dx.doi.org/10.33732/ixc/13/01reescr.
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Since his appearance in the 19th century, Sherlock Holmes has been the subject of several adaptations to multiple formats, media, and platforms that update the character, icon, and paradigm of the independent detective. His updating to the 21st century has caused an even greater expansion of the fictional universe created, at first, by Arthur Conan Doyle, and, later, by a multiplicity of authors who have either been governed by the canon or have opted for a freer interpretation of fandom. This article makes a brief tour of both traditions and then focuses on the analysis of the contributions that the last production of the British television channel BBC Sherlock (2010-2017) has made to the collective imagination in which the character and his universe are inscribed. In this analysis the contributions that transmedia productions have made to carry out the series are especially important, as well as the changes they have brought about in the type of relationships that the detective establishes with his immediate, technological, and human environment, and which give him a new dimension in tune with the new times.
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Anselmo, Diana W. "Gender and Queer Fan Labor on Tumblr." Feminist Media Histories 4, no. 1 (January 1, 2018): 84–114. http://dx.doi.org/10.1525/fmh.2018.4.1.84.
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Dominated by LGBTQ+ and female-identified fans from various backgrounds, Tumblr blogs dedicated to queer readings of the BBC television series Sherlock (2010–ongoing) are a breeding ground for less-discussed forms of unremunerated queer labor: utopian, heuristic, and care work. In their digital fanworks, Tumblr queer users marry crafts associated with domestic heterosexual femininity (collage and scrapbooking) with established female fan practices (slashing and shipping) to articulate complex sexual and gender identities and navigate neuro-divergent mental health statuses. This article examines the shifts real-time digital interactivity and transmedia storytelling have introduced to viewer/producer power relations. Unpacking “queer cryptography” as a form of reception labor offers a feminist reading of the diverse modes of LGBTQ+ identification, kinship, and activism performed by queer female viewers on Tumblr, while questioning the vulnerability and possible exploitation of the unsanctioned affective labor produced by such a desperately underrepresented demographic.
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Kissoon, Roshnara. "Mary Watson’s Vanishing Acts: From The Sign of Four to Sherlock." Victorians Institute Journal 48, no. 1 (December 2021): 1–23. http://dx.doi.org/10.5325/victinstj.48.2021.0001.
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Abstract The character of Mary Watson first appears in Arthur Conan Doyle’s The Sign of Four (1890). Scholars have read Mary as a personification of late nineteenth-century British imperial and societal anxieties. Mary is identified both with the dangerous colonial Other and New Woman and, conversely, with the “pure” and safe British domestic order that uneasily triumphs over these threatening forces. Though the critical discourse on Conan Doyle’s work acknowledges the ambivalence surrounding Mary, many critics ignore her eventual childless death in the original Holmes canon. Considering Karen Beckman’s study of the Victorian “vanishing woman” magic act, Mary’s death can be interpreted as this sort of “vanishing”—one that further resists the uneasy containment of the threats so often read in Conan Doyle’s novel. In the television series Sherlock (2010–17) created by Steven Moffat and Mark Gatiss, Mary Watson performs Beckman’s vanishing act in full, reappearing after her onscreen death. Though Sherlock’s Mary is seemingly divorced from her original Victorian context, a closer reading of her trajectory in the series suggests that the model of the “vanishing woman” is very much the same—with the historical points of context merely substituted. Sherlock’s treatment of Mary’s character in the twenty-first century, then, seems surprisingly even more inhibitive and violent than that of Mary’s character in its nineteenth century source material.
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Beirne, Rebecca C. "Extraordinary minds, impossible choices: mental health, special skills and television." Medical Humanities 45, no. 3 (May 26, 2018): 235–39. http://dx.doi.org/10.1136/medhum-2017-011410.
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Over the last decade, there has been an increase in the number of televisual protagonist and major secondary characters specifically identified within the text as having a diagnosed mental illness. This is a significant development in the context of characters with a mental illness on television, who were previously usually minor and heavily stigmatised. A key trend with these new protagonists and major characters is the attribution of special talents or powers associated with mental health conditions. This paper analyses the discursive construction of this trope in five recent television series: Sherlock (UK, BBC, 2010-), Homeland (USA, Showtime, 2011-), Perception (USA, TNT, 2012–2015), Hannibal (USA, NBC, 2013–2015) and Black Box (USA, ABC, 2014). Theoretically, this paper draws on Sami Schalk’s formulation of the ‘superpowered supercrip narrative’, which refers to the ‘representation of a character who has abilities or "powers" that operate in direct relationship with or contrast to their disability'. This paper is also indebted to Davi A Johnson’s ‘Managing Mr. Monk’ (2008) for its discussion of mental illness as attaining ‘social value’ through becoming a resource with economic and ethical value, as do the conditions of the fictional characters explored in this article. Schalk’s work on disability is here expanded to a more specific discussion of mental illness on television, while Johnson’s work is updated to discuss whether the newer characterisations reflect the same rhetorical positioning as Monk (USA, USA Network, 2002–2009), one of the earliest texts celebrated for featuring a lead, sympathetic character clearly and explicitly identified with a mental health condition. Of the five lead characters examined here, three are figured as responsible for their symptoms because they have chosen not to take medication or withdraw from their medication. It is concurrently presented that if they do take medication, it dampens their abilities to perform valuable work in the community, thus removing their use value within the world of the series.
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Aprinta, Gita. "JURNALISME REPORTASE: SEBUAH PRODUK KOMERSIALISASI DALAM INDUSTRI TELEVISI." Jurnal The Messenger 4, no. 1 (March 23, 2016): 27. http://dx.doi.org/10.26623/themessenger.v4i1.274.
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<p><em>The freedom of press has given space to the growth of television industries in Indonesia. As we all know, since 2010 there are at least nine private television that established. This case has been impact to the public information fulfilness. Unfortunately as part of the capitalism industry, television should able to provide information that give two function, these is entertainment and journalism. Therefore, information is so often considered as commodity relate with the market mechanism that create television commercialization.</em></p><p><em>This article aim to observe the bias of information that affected by journalism technique in the investigation program called. “Reportase Investigasi” through the approach Marxis capitalism where in the world of capitalism production is always relate with power and capital ownership. </em><em></em></p>
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Çöl Araz, Nilgün, Serap Parlar, and Hatice Serap Atalay. "Opinions Of The Higher School Of Health Students Toward Media And lts lmpact." European Journal of Therapeutics 16, no. 2 (May 1, 2010): 16–21. http://dx.doi.org/10.58600/eurjther.2010-16-2-1253-arch.
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The aim of this questionnaire-based study was to determine the opinions of higher school of health nursing department students toward media and its impact. The study was conducted to a convenience sample of 275 higher school of health nursing department students between June 2009 and July 2009 were asked to complete a questionnaire. The forty-eight percent of the respondents (130) was watched television less than 2 hour per day. Advertising of the food such as yogurt, milk, fruit juice (98, 39.0%) was the most memorable television advertisement. The fifty percent of students (137) was watched an image is related to the violence of the child on television in the last 1 month. The great majority of the students was not watched a television program is related to portrayed tobacco and alcohol use in the last 1 week. (tobacco: 208, 76.2%; alcohol: 197, 72.2%). No correlation could be found between the impact of media and age, parents age and education level, type of social security, level of income or other sociodemographic properties. This study shows that, media becomes more efficient in every aspect of our lives, in the recent years and higher school of health nursing department students were also affected by the media.
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Peltier, MacKenzie, and Lauren Mizock. "Fox's More to Love: Pseudo-Fat Acceptance in Reality Television." Somatechnics 2, no. 1 (March 2012): 93–106. http://dx.doi.org/10.3366/soma.2012.0043.
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Anti-fat bias has become a critical issue to address given the moral panic over perceptions of the prevalence of ‘obesity’ that leads to further stigmatization of fatness ( Boero, 2007 ; Campos et al., 2006 ; Flegal et al., 2010 ; Gard, 2010 ; Tischner & Malson, 2008 ). Fat phobic attitudes result in negative outcomes for employment, relationships, and health care provision ( Teachman & Brownell, 2001 ; Maranto & Stenoien, 2000 ). The United States media has frequently been identified as a source that further reinforces stereotypes and contributes to anti-fat stigma ( Himes & Thompson, 2007 ). Specifically, the representation of fat characters in television has risen in recent years ( Himes & Thompson, 2007 ), possibly due to public pressure, marketing goals, or to better represent the general population. However, are these allegedly fat positive depictions effective alternatives to fat stigma? In the case of the Fox Television network's reality dating series featuring fat contestants, More to Love, pseudo-fat acceptance is the result. In this paper, we rely on a textual analysis of More to Love (in select episodes and promotional material) to highlight the undermining of fat acceptance in popular American media sources. We will discuss how pseudo-fat acceptance in this program further reinforces anti-fat stigma. Implications of fat stigmatizing and fat positive representation in the media will also be suggested.
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Widiastuti, Ni Made Ayu, Anak Agung Sagung Shanti Sari Dewi, and Sang Ayu Isnu Maharani. "English Development as a Second Language in Relation with TV Exposure." Lingual: Journal of Language and Culture 5, no. 1 (June 6, 2018): 19. http://dx.doi.org/10.24843/ljlc.2018.v05.i01.p03.
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The aims of this study are to know the role of young learner’s parents in choosing good and educating television program for their child, and to describe the effects of TV exposure in their child’s English language development. A five-year-old young learner who lives in Denpasar was observed in 2017. The data were collected by giving a questionnaire to the young learner’s parents in order to get the description of the effects of the television programs to her language development. As it is a following research of the previous research on English vocabulary acquisition, the results of the observation of the young learner and the interview with her parents that have already been done are used to support the analysis of this small research. The collected data were analysed descriptively based on approaches from Barr, et.al. (2010), Christakis (2009), and March (2004) about English language acquisition and language development of young children. The results show that the young learner’s parents have the important role in choosing good and educating television program for her. It can be seen from the choices of cartoon movies as one of the television programs that is educating as well as entertaining for a child in her age, the intensive accompaniment when she was watching the movies, the limitation of television watching time, and also the parents’ assistance in order to help her understand the stories and vocabulary meanings. It is true that good content, context, and the amount of daily TV viewing time as well as parental assistance will be beneficial for the young learner’s second language development in informal learning situation. The effectiveness of watching cartoon movies has led her to gain the positive second language development in her bilingual condition, although English code-switching in Indonesian sentences sometimes occur.
Keywords: SLA, English, language development, TV exposure, cartoon movies
Dissertations / Theses on the topic "Sherlock (Television program : 2010- )"
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Davies, Llewellyn Willis. "‘LOOK’ AND LOOK BACK: Using an auto/biographical lens to study the Australian documentary film industry, 1970 - 2010." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/154339.
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While much has been written on the Australian film and television
industry, little has been presented by actual producers,
filmmakers and technicians of their time and experiences within
that same industry. Similarly, with historical documentaries, it
has been academics rather than filmmakers who have led the
debate. This thesis addresses this shortcoming and bridges the
gap between practitioner experience and intellectual discussion,
synthesising the debate and providing an important contribution
from a filmmaker-academic, in its own way unique and insightful.
The thesis is presented in two voices. First, my voice, the
voice of memoir and recollected experience of my screen
adventures over 38 years within the Australian industry, mainly
producing historical documentaries for the ABC and the SBS. This
is represented in italics. The second half and the alternate
chapters provide the industry framework in which I worked with
particular emphasis on documentaries and how this evolved and
developed over a 40-year period, from 1970 to 2010.
Within these two voices are three layers against which this
history is reviewed and presented. Forming the base of the
pyramid is the broad Australian film industry made up of feature
films, documentary, television drama, animation and other types
and styles of production. Above this is the genre documentary
within this broad industry, and making up the small top tip of
the pyramid, the sub-genre of historical documentary. These form
the vertical structure within which industry issues are
discussed. Threading through it are the duel determinants of
production: ‘the market’ and ‘funding’.
Underpinning the industry is the involvement of government, both
state and federal, forming the three dimensional matrix for the
thesis. For over 100 years the Australian film industry has
depended on government support through subsidy, funding
mechanisms, development assistance, broadcast policy and
legislative provisions.
This thesis aims to weave together these industry layers, binding
them with the determinants of the market and funding, and
immersing them beneath layers of government legislation and
policy to present a new view of the Australian film industry.
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Marek, Vojtěch. "Mediální obraz programů politických stran KDU-ČSL, SPOZ, Suverenity a Strany zelených po volbách do PS PČR 2010." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-338800.
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This thesis presents and analyzes the media image of political programs of parties Christian and Democratic Union - Czechoslovak People's Party, Green Party, Party of Civic Rights - Zemanovci and Sovereignty after parliamentary elections in 2010 in Czech public service media - Czech Press Agency, Czech Television and Czech Radio. In the theoretical part of the thesis are presented political party programs in the period 2010-2013, and also briefly introduced Czech public service media, their historical development or their current position in the media world. The practical part contains an analysis of textual and audiovisual content of individual media in the selected time period and focuses on the search for mentions of individual program points. Minor, but for understanding the role of public service media is an important part that compares the situation of position Czech public service media with those from another countries. The practical part then also examines the situation in the Czech world media after parliamentary elections in 2013 and if there are any consequences based on these results. Hypothesis of work - proof unevenly provided media space by Czech Press Agency, Czech Television and Czech Radio to four non-parliamentary parties that based on the results of parliamentary elections in...
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Marek, Vojtěch. "Mediální obraz programů politických stran KDU-ČSL, SPOZ, Suverenity a Strany zelených po volbách do PS PČR 2010." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-336436.
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This thesis presents and analyzes the media image of political programs of parties Christian and Democratic Union - Czechoslovak People's Party, Green Party, Party of Civic Rights - Zemanovci and Sovereignty after parliamentary elections in 2010 in programs of publice service media Czech Television and Czech Radio Political Spectrum and Twenty Minutes of Radiojournal. The theoretical part is introduced by description of the relationship between public service media and political sphere together with the different approaches to the study and exploration of public service media. There is a description of concepts of news coverage in the media public service generally as well specifically in the Czech Republic. This thesis also includes a description of management concepts of broadcasting public service media. Further more ale explained ideas of impartiality, objectivity and balance in public service media. The last area of theoretical part presented political programs of examined parties and surveyed programs. After the introduction of a methodology practical section contains a description of the results of the author's research. The final part of the thesis contains the interpretation of results and recommendations for further research.
Books on the topic "Sherlock (Television program : 2010- )"
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author, Stiefel Karoline de. Geistesblitze und Genialität - Bilder aus dem Gehirn des Detektivs: Die Visualisierung von Imagination in den TV-Serien Sherlock und House, M.D. Stuttgart: Ibidem-Verl, 2013.
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K, Wilson Erin. Just Kiss Him Already: A Sketchy Sherlock Fanzine. New Orleans, LA]: [Erin K. Wilson], 2012.
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Conan, Doyle Arthur, and Guy Adams. Sherlock: The Casebook. Penguin Random House, 2012.
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Sherlock's World: Fan Fiction and the Reimagining of BBC's Sherlock. University Of Iowa Press, 2018.
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Sherlock: Da Arthur Conan Doyle a Benedict Cumberbatch. Torino: Graphot editrice, 2021.
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Busse, Kristina, and Louisa Ellen Stein. Sherlock and Transmedia Fandom: Essays on the BBC Series. McFarland & Company, Incorporated Publishers, 2012.
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Mind Games: Über literarische, psychoanalytische und gendertheoretische Sendeinhalte bei A.C.Doyle und der BBC-Serie Sherlock. Springer VS, 2017.
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Guy Adams. The Sherlock Files: The Official Companion to the Hit Television Series. It Books, 2013.
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Crossing Fandoms: SuperWhoLock and the Contemporary Fan Audience. Palgrave Macmillan, 2016.
Find full textBook chapters on the topic "Sherlock (Television program : 2010- )"
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Ray, Robert B. "Webley-Forsby." In The ABCs of Classic Hollywood, 218–21. Oxford University PressNew York, NY, 2008. http://dx.doi.org/10.1093/oso/9780195322910.003.0075.
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Abstract “A Webley-Forsby 45-automatic, eight-shot,” Spade replies, responding to Polhaus’s request to identify Archer’s murder weapon. “They don’t make them any more.” In fact, they never did. Even under its actual name, Webley-Fosbery produced only 38-caliber eight-shot revolvers. Hammett, who got both the name and the caliber correct, almost certainly underestimated this gun’s rarity: some reports suggest that as few as 40 were manufactured. By making Spade able to recognize an impossibly rare weapon that he would have almost certainly never seen, Hammett was endowing his hero with the kind of specialized knowledge championed by Sherlock Holmes. But why does Huston’s film depart from Hammett’s text? On the one hand, “Forsby” sounds like “Thursby,” a near-rhyme linking Archer’s murder weapon to his suspected killer. On the other, The Maltese Falcon’s effect depends far less on precise verisimilitude than on convincing presentation. If Spade’s description of the gun sounds right, the audience will accept it. Would it also accept the following uncanny coinci- dence? The revolver’s original manufacturer, an Englishman prove far longer than Hammett’s 200 pages. The film, in other words, both abridges and expands its written source, providing a more exhaustive history. In doing so, it confirms Irving Thalberg’s remark, cited elsewhere in this book: “In the future, the movies will be the best record of how we once lived.” A contemporary viewer will likely mistake “Wells” for “Welles,” the Orson Welles whose own accounts of Charles Foster Kane and the Ambersons amount to counternarratives that resist Hollywood’s “history as usual.” As if to further the confusion, Orson Welles’s initial fame derived from his radio play of H. G. Wells’s The War of the Worlds, designed to resemble a breaking- news report. The mass panic caused by Welles’s show resulted not only from its perfect mimicry of the news (the harried announcers, abruptly cut off; the crackling static), but also from its audience’s late tuning in (many people had been listening to Edgar Bergen and Charlie McCarthy). This latter factor seems peculiar to film, radio, and television. When, if ever, do we begin reading in the middle of a novel? Yet we often tune into a program already in progress, understanding and accepting the irretrievability of the missing scenes. Like Welles’s listeners, Spade enters the Falcon story in medias res: like them, he must learn to accept that story as a story, and not as something historically true.
Conference papers on the topic "Sherlock (Television program : 2010- )"
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Cohen Zilka, Gila. "The Elements Way: Empowering Parents, Educators, and Mentors in the Age of New Media." In InSITE 2017: Informing Science + IT Education Conferences: Vietnam. Informing Science Institute, 2017. http://dx.doi.org/10.28945/3701.
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[This Proceedings paper was revised and published in the journal Issues in Informing Science and Information Technology] Aim/Purpose: This study was designed to examine the effectiveness of mentor’s work with immigrant children and adolescents at risk, using the Elements Way. Background: The New Media offers our “screen kids” a lot of information, many behavioral models, and a new type of social communication. The Elements Way is an educational method designed to enhance openness, development, breakthroughs, goal achievement, and transformation in the age of media and social networks. Methodology: The Elements Way was developed following research on communication in the diversified media, especially new media such as Facebook, WhatsApp, and television reality shows, and the study is an examination of the effectiveness of mentors’ work with immigrant children and adolescents at risk, using the Elements Way. All mentors had been trained in the Elements Way. The study population included 640 mentors working with immigrants’ children in Israel. The work was conducted in 2010-2013. The mixed-methods approach was selected to validate findings. Contribution: Empowering children and enhancing their ability to cope; Creating openness and sharing, making children more attentive to the significant adults in their lives; Supporting children who face the complex reality that characterizes our age. Findings: Significant differences were found in the mentors’ conduct with the children. Work programs were designed and implemented with care and consistency, and mentors succeeded in generating change within the children and achieving desired goals. Of the 640 participating mentors, 62 were not able to promote the child, and interviews with them revealed that their work with the children was not consistent with the Elements Way and began from a different vantage point. Recommendations for Practitioners: Success factors: Self-awareness and awareness of one’s surroundings. Empathy. Willingness to engage in significant interactions. Self-cleansing and self-reflection. Ability to engage in a personal and interpersonal dialogue. Ability to accept and contain the child. Cooperation with the child in creating a work program and assisting the child to achieve the goals that were set in the program. Recommendation for Researchers: Future studies should focus on analyzing the discussions of children and adolescents, to add depth to our insights regarding children and adolescents’ perception of the mentors’ work from their perspective. Impact on Society: Finding the “keys” to openness, development, goal achievement, and transformation in our work with “screen kids.” Future Research: Studies that are designed to examine the effectiveness of mentor’s work with immigrant children and adolescents at risk, using the Elements Way.