dc.contributor.author | Leyda, Julia | |
dc.date.accessioned | 2018-01-24T10:18:53Z | |
dc.date.available | 2018-01-24T10:18:53Z | |
dc.date.created | 2017-11-14T10:29:46Z | |
dc.date.issued | 2017 | |
dc.identifier.issn | 1527-4764 | |
dc.identifier.uri | http://hdl.handle.net/11250/2479319 | |
dc.description.abstract | Arrested Development occupies an important place in twenty-first-century American television culture, both because of its peculiar positioning as a “before” and “after” snapshot of the housing crisis, and because its experimental revival (Netflix’s first) occasioned a similar set of obstacles to those that plagued the original series. As a representation of and an instance of the financialization of domestic space, this series about the failures of a wealthy family itself courts failure as a complex and innovative television narrative. | nb_NO |
dc.language.iso | eng | nb_NO |
dc.publisher | SAGE Publications | nb_NO |
dc.subject | Television | nb_NO |
dc.subject | Television Studies | nb_NO |
dc.title | Financial Times: Economic and Industrial Temporalities in Netflix’s Arrested Development | nb_NO |
dc.type | Journal article | nb_NO |
dc.type | Peer reviewed | nb_NO |
dc.description.version | publishedVersion | nb_NO |
dc.subject.nsi | VDP::Filmvitenskap: 171 | nb_NO |
dc.subject.nsi | VDP::Film studies: 171 | nb_NO |
dc.source.journal | Television and New Media | nb_NO |
dc.identifier.doi | 10.1177/1527476417742973 | |
dc.identifier.cristin | 1513826 | |
dc.description.localcode | © The Author(s) 2017. Published by SAGE. | nb_NO |
cristin.unitcode | 194,62,35,0 | |
cristin.unitname | Institutt for kunst- og medievitenskap | |
cristin.ispublished | true | |
cristin.fulltext | original | |
cristin.qualitycode | 2 | |