Shelley-Jean Bradfield
Biographic Data
| ID | 116284 |
|---|---|
| NAME | Shelley-Jean Bradfield |
| GIVEN NAMES | Shelley-Jean |
| FAMILY NAME | Bradfield |
| SIGNATURE | BRADFIELD S |
| AFFILIATIONS | Indiana University Bloomington |
| ORCID | 0000-0002-7768-5509 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 2 |
| WORKS AS AUTHOR | 6 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2008 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
Queen Sono
This article explores Netflix's changing business strategies to diversify its catalogues, examining the practices of 'direct commissioning' and genre adaptation. The case study of Queen Sono, the first Netflix African Original, reveals how the spy thriller conventions are leveraged to attract a Western audience even as the series is adapted to the African context. Although Queen is portrayed as a female spy with clear moral impulses, I argue that…
It’s [Not] Like a Racist Thing”
The production and airing of Color TV (2011–2012), a variety comedy show, on the South African Broadcasting Corporation was seemingly driven by creator, producer, and industry desire for increased representation of “coloreds,” or people of mixed race, seventeen years after the end of apartheid. Although constitutional mandates and nation-building discourses support proportionate racial representations, the series was not renewed. Using critical r…
“Unity in Diversity?”
The public television endeavor in South Africa to translate a multicultural ideology into programming addresses the plurality of citizen‐viewers in the country through the stipulation of language and local content quotas, among other corporate objectives. But the way women negotiate television's attempts to reproduce a shared sense of national identity and the manner in which they view television as a means to participate in the national public s…
Madam & Eve
The situation comedy Madam & Eve (2000-2005) debuted on e.tv, a free-to-air South African television channel, and emerged as one of the most popular local shows, even winning international recognition. Raising pertinent issues of race, class, and gender within the context of domestic service in postcolonial South Africa, Madam & Eve follows the interconnected lives of Gwen Anderson, a well-to-do, white “Madam,” and Eve, a younger, working-class, …
(Re-)Inventing Home Affairs
The South African-produced television show, Home Affairs, foregrounds the challenge of creating a united and homogenous notion of nation. The heterogeneous images of 9 female protagonists set within the discourse of nation-building draws attention to issues of equality and empowerment. However, these representations also expose ruptures within feminism, and the project of nationalism as feminist sensibility is often criticized as a betrayal of th…
Text and Context
Queen Sono
This article explores Netflix's changing business strategies to diversify its catalogues, examining the practices of 'direct commissioning' and genre adaptation. The case study of Queen Sono, the first Netflix African Original, reveals how the spy thriller conventions are leveraged to attract a Western audience even as the series is adapted to the African context. Although Queen is portrayed as a female spy with clear moral impulses, I argue that…
(Re-)Inventing Home Affairs
The South African-produced television show, Home Affairs, foregrounds the challenge of creating a united and homogenous notion of nation. The heterogeneous images of 9 female protagonists set within the discourse of nation-building draws attention to issues of equality and empowerment. However, these representations also expose ruptures within feminism, and the project of nationalism as feminist sensibility is often criticized as a betrayal of th…
Text and Context
(Re-)Inventing Home Affairs
The South African-produced television show, Home Affairs, foregrounds the challenge of creating a united and homogenous notion of nation. The heterogeneous images of 9 female protagonists set within the discourse of nation-building draws attention to issues of equality and empowerment. However, these representations also expose ruptures within feminism, and the project of nationalism as feminist sensibility is often criticized as a betrayal of th…
“Unity in Diversity?”
The public television endeavor in South Africa to translate a multicultural ideology into programming addresses the plurality of citizen‐viewers in the country through the stipulation of language and local content quotas, among other corporate objectives. But the way women negotiate television's attempts to reproduce a shared sense of national identity and the manner in which they view television as a means to participate in the national public s…
Madam & Eve
The situation comedy Madam & Eve (2000-2005) debuted on e.tv, a free-to-air South African television channel, and emerged as one of the most popular local shows, even winning international recognition. Raising pertinent issues of race, class, and gender within the context of domestic service in postcolonial South Africa, Madam & Eve follows the interconnected lives of Gwen Anderson, a well-to-do, white “Madam,” and Eve, a younger, working-class, …
It’s [Not] Like a Racist Thing”
The production and airing of Color TV (2011–2012), a variety comedy show, on the South African Broadcasting Corporation was seemingly driven by creator, producer, and industry desire for increased representation of “coloreds,” or people of mixed race, seventeen years after the end of apartheid. Although constitutional mandates and nation-building discourses support proportionate racial representations, the series was not renewed. Using critical r…
Queen Sono
This article explores Netflix's changing business strategies to diversify its catalogues, examining the practices of 'direct commissioning' and genre adaptation. The case study of Queen Sono, the first Netflix African Original, reveals how the spy thriller conventions are leveraged to attract a Western audience even as the series is adapted to the African context. Although Queen is portrayed as a female spy with clear moral impulses, I argue that…
Sociology (6 works) · Art (5 works) · Gender Studies (4 works) · Gender, Feminism, and Media (4 works) · History (4 works) · Law (4 works) · Political science (4 works) · Politics (4 works) · Comedy (3 works) · Context (archaeology (3 works)