Trisha Dunleavy
Biographic Data
| ID | 3047378 |
|---|---|
| NAME | Trisha Dunleavy |
| GIVEN NAMES | Trisha |
| FAMILY NAME | Dunleavy |
| SIGNATURE | DUNLEAVY T |
| AFFILIATIONS | Victoria University of Wellington |
| ORCID | 0000-0001-8030-698X |
| VERIFIED | Yes |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 28 |
| AUTHOR COUNT | 10 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 2003 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 3 |
Cultural specificity and transnational coproduction: A case study of Irish/New Zealand crime drama, The Gone
This article offers a case study in transnational coproduction using Irish/New Zealand crime drama serial, The Gone (TVNZ/RTÉ, 2023-24), the first major coproduction between these countries. Examining The Gone ’s exemplification of what Havens’ (2018) terms ‘conspicuous localism’, the article links the cultural equality that characterised this drama’s writing and filming to the maximisation of cultural specificity in the finished show. Informed b…
Creative innovation, global engagement and public outcomes: The significance of Netflix’s Adolescence
This article explores the UK significance of Netflix’s Adolescence in three areas. First is why Adolescence was commissioned for Netflix, a multinational subscription video-on-demand (SVoD) service, rather than for one of the UK’s PSBs and what this conveys about the current position of UK-produced high-end dramas and Netflix’s involvement in them. Second is the creative genesis of Adolescence and what narrative and aesthetic strategies were impo…
TV Drama in the Multiplatform Era: Transnational Coproduction and Cultural Specificity
This book examines a new phase in the creation of transnational high-end drama in television’s current multiplatform era
Black Lives Have Always Mattered: Cultural specificity and transformative representations in Small Axe
Small Axe, a series of five films, has brought innovation and prestige to TV drama not only for its overdue history of Caribbean migrant experiences in post-war Britain but also for its transformative representations of Black British people. The article examines three areas of the Small Axe production and text in recognition of their importance to these achievements: its creative genesis as a TV drama inspired by the under-representation of Brita…
Cultural Diversity in Internationally Coproduced High-end Drama
Transnational co-production, multiplatform television and My Brilliant Friend
Rai/HBO co-production L'Amica Geniale/ My Brilliant Friend (2018-) provides an illuminating example of changing strategies for transnational drama co-production in television's burgeoning 'multiplatform' era. Foregrounding institutional over textual analysis, the article places My Brilliant Friend ( MBF) within the industrial, creative and cultural contexts that have facilitated it. Important to these contexts is that transnational co-productions…
New Zealand on Air, Public Service Television and TV Drama
This chapter focuses on television, exploring the 'public service' contribution of New Zealand on Air (NZoA), this country's public broadcasting agency. Originally called the New Zealand Broadcasting Commission, NZoA was created as part of the neoliberal-styled restructuring and deregulation of New Zealand broadcasting in 1988–9. Its statutory mission was to disburse public funding to broadcasting projects deemed able to 'reflect and develop New …
New Zealand television and the struggle for `public service
Coronation Street, Neighbours, Shortland Street: Localness and Universality in the Primetime Soap
The pressure on television soap operas to strike an effective balance between the often conflicting demands of localness and universality has been underlined by the genre’s post-1990 environment of aggressive competition, ratings anxiety, and continuing expectations that TV drama address export as well as domestic markets. Particularly given soap opera’s stripped, continuing nature and channel “flagship” role, new primetime soap concepts require …
Popular 'Series' Drama in Tv's Multichannel Age
Devised to introduce the themed section of this MIA issue and the 'popular' area of TV drama that is its focus, this paper examines the contemporary drama series form and outlines some key institutional and cultural conditions for its production in non-American countries.1Interested in the commercial pressures being brought to bear on drama by intensifying prime-time competition and increasing audience fragmentation, the paper looks at how the se…
A Soap of Our Own: New Zealand'sShortland Street
Shortland Street is a prime-time soap opera that launched on New Zealand television in 1992 and was created to meet a combination of commercial and 'public service' objectives. Shortland Street is institutionally and culturally significant as New Zealand's first attempt at daily drama production and one of the first major productions to follow New Zealand television's 1989 deregulation. Placing Shortland Street in the context of national televisi…
New Zealand television and the struggle for `public service
Transnational co-production, multiplatform television and My Brilliant Friend
Rai/HBO co-production L'Amica Geniale/ My Brilliant Friend (2018-) provides an illuminating example of changing strategies for transnational drama co-production in television's burgeoning 'multiplatform' era. Foregrounding institutional over textual analysis, the article places My Brilliant Friend ( MBF) within the industrial, creative and cultural contexts that have facilitated it. Important to these contexts is that transnational co-productions…
Coronation Street, Neighbours, Shortland Street: Localness and Universality in the Primetime Soap
The pressure on television soap operas to strike an effective balance between the often conflicting demands of localness and universality has been underlined by the genre’s post-1990 environment of aggressive competition, ratings anxiety, and continuing expectations that TV drama address export as well as domestic markets. Particularly given soap opera’s stripped, continuing nature and channel “flagship” role, new primetime soap concepts require …
Cultural Diversity in Internationally Coproduced High-end Drama
Popular 'Series' Drama in Tv's Multichannel Age
Devised to introduce the themed section of this MIA issue and the 'popular' area of TV drama that is its focus, this paper examines the contemporary drama series form and outlines some key institutional and cultural conditions for its production in non-American countries.1Interested in the commercial pressures being brought to bear on drama by intensifying prime-time competition and increasing audience fragmentation, the paper looks at how the se…
A Soap of Our Own: New Zealand'sShortland Street
Shortland Street is a prime-time soap opera that launched on New Zealand television in 1992 and was created to meet a combination of commercial and 'public service' objectives. Shortland Street is institutionally and culturally significant as New Zealand's first attempt at daily drama production and one of the first major productions to follow New Zealand television's 1989 deregulation. Placing Shortland Street in the context of national televisi…
A Soap of Our Own: New Zealand'sShortland Street
Shortland Street is a prime-time soap opera that launched on New Zealand television in 1992 and was created to meet a combination of commercial and 'public service' objectives. Shortland Street is institutionally and culturally significant as New Zealand's first attempt at daily drama production and one of the first major productions to follow New Zealand television's 1989 deregulation. Placing Shortland Street in the context of national televisi…
Coronation Street, Neighbours, Shortland Street: Localness and Universality in the Primetime Soap
The pressure on television soap operas to strike an effective balance between the often conflicting demands of localness and universality has been underlined by the genre’s post-1990 environment of aggressive competition, ratings anxiety, and continuing expectations that TV drama address export as well as domestic markets. Particularly given soap opera’s stripped, continuing nature and channel “flagship” role, new primetime soap concepts require …
Popular 'Series' Drama in Tv's Multichannel Age
Devised to introduce the themed section of this MIA issue and the 'popular' area of TV drama that is its focus, this paper examines the contemporary drama series form and outlines some key institutional and cultural conditions for its production in non-American countries.1Interested in the commercial pressures being brought to bear on drama by intensifying prime-time competition and increasing audience fragmentation, the paper looks at how the se…
New Zealand television and the struggle for `public service
New Zealand on Air, Public Service Television and TV Drama
This chapter focuses on television, exploring the 'public service' contribution of New Zealand on Air (NZoA), this country's public broadcasting agency. Originally called the New Zealand Broadcasting Commission, NZoA was created as part of the neoliberal-styled restructuring and deregulation of New Zealand broadcasting in 1988–9. Its statutory mission was to disburse public funding to broadcasting projects deemed able to 'reflect and develop New …
Transnational co-production, multiplatform television and My Brilliant Friend
Rai/HBO co-production L'Amica Geniale/ My Brilliant Friend (2018-) provides an illuminating example of changing strategies for transnational drama co-production in television's burgeoning 'multiplatform' era. Foregrounding institutional over textual analysis, the article places My Brilliant Friend ( MBF) within the industrial, creative and cultural contexts that have facilitated it. Important to these contexts is that transnational co-productions…
TV Drama in the Multiplatform Era: Transnational Coproduction and Cultural Specificity
This book examines a new phase in the creation of transnational high-end drama in television’s current multiplatform era
Black Lives Have Always Mattered: Cultural specificity and transformative representations in Small Axe
Small Axe, a series of five films, has brought innovation and prestige to TV drama not only for its overdue history of Caribbean migrant experiences in post-war Britain but also for its transformative representations of Black British people. The article examines three areas of the Small Axe production and text in recognition of their importance to these achievements: its creative genesis as a TV drama inspired by the under-representation of Brita…
Cultural Diversity in Internationally Coproduced High-end Drama
Cultural specificity and transnational coproduction: A case study of Irish/New Zealand crime drama, The Gone
This article offers a case study in transnational coproduction using Irish/New Zealand crime drama serial, The Gone (TVNZ/RTÉ, 2023-24), the first major coproduction between these countries. Examining The Gone ’s exemplification of what Havens’ (2018) terms ‘conspicuous localism’, the article links the cultural equality that characterised this drama’s writing and filming to the maximisation of cultural specificity in the finished show. Informed b…
Creative innovation, global engagement and public outcomes: The significance of Netflix’s Adolescence
This article explores the UK significance of Netflix’s Adolescence in three areas. First is why Adolescence was commissioned for Netflix, a multinational subscription video-on-demand (SVoD) service, rather than for one of the UK’s PSBs and what this conveys about the current position of UK-produced high-end dramas and Netflix’s involvement in them. Second is the creative genesis of Adolescence and what narrative and aesthetic strategies were impo…
Drama (10 works) · Sociology (8 works) · Art (7 works) · Media studies (6 works) · Political science (6 works) · Business (5 works) · Cultural Industries and Urban Development (5 works) · Law (5 works) · Media Studies and Communication (5 works) · Visual arts (5 works)