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Polish Culture? World on Fire, Transnational Coproduction and the Inscription of Cultural Specificity

Joanna Rydzewska Orcid Logo

TV Drama in the Multiplatform Era: Transnational Coproduction and Cultural Specificity

Swansea University Author: Joanna Rydzewska Orcid Logo

Abstract

This chapter studies the first season of BBC/PBS coproduction World on Fire (2019-) as an example of new high-end transnational television drama which foregrounds cultural specificity as a means to target an international audience. By analysing World on Fire’s unprecedented foregrounding of a Polish...

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Published in: TV Drama in the Multiplatform Era: Transnational Coproduction and Cultural Specificity
Published: London Palgrave Macmillan 2023
URI: https://cronfa.swan.ac.uk/Record/cronfa63195
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spelling v2 63195 2023-04-19 Polish Culture? World on Fire, Transnational Coproduction and the Inscription of Cultural Specificity 404f689e6ac53f83deca163c90483627 0000-0002-9011-6378 Joanna Rydzewska Joanna Rydzewska true false 2023-04-19 AMED This chapter studies the first season of BBC/PBS coproduction World on Fire (2019-) as an example of new high-end transnational television drama which foregrounds cultural specificity as a means to target an international audience. By analysing World on Fire’s unprecedented foregrounding of a Polish experience of World War II, we show how the serial exemplifies the increased salience of cultural specificity for high-end TV drama and deploys both textual and aesthetic strategies to inscribe this. The chapter analyses how World on Fire’s story reframes the (British) national myths of WWII that have traditionally put emphasis on the UK’s ‘Home Front’ by instead highlighting Polish heroism and an Anglo-Polish connection. We argue that World on Fire’s introduction of the heroic Pole archetype subverts previous representations of Poland exclusively focused on images of migrants. Another objective of this chapter is to trace WoF’s inception as a transnational coproduction and an example of alignment between the cultural objectives of national public broadcasters and the commercial necessity to address an international audience. We suggest that the strategies around cultural specificity in WoF respond to the challenges of the multiplatform era, which include the capacity to engage and/or appeal to multinational SVoDs and their subscribers. Book chapter TV Drama in the Multiplatform Era: Transnational Coproduction and Cultural Specificity Palgrave Macmillan London transnational high-end TV drama, BBC, PBS, Anglo-Polish relations, heroic Polishness, Word on Fire 31 12 2023 2023-12-31 COLLEGE NANME Media COLLEGE CODE AMED Swansea University 2023-12-22T11:03:16.6008662 2023-04-19T09:25:58.8119133 Faculty of Humanities and Social Sciences School of Culture and Communication - Media, Communications, Journalism and PR Joanna Rydzewska 0000-0002-9011-6378 1
title Polish Culture? World on Fire, Transnational Coproduction and the Inscription of Cultural Specificity
spellingShingle Polish Culture? World on Fire, Transnational Coproduction and the Inscription of Cultural Specificity
Joanna Rydzewska
title_short Polish Culture? World on Fire, Transnational Coproduction and the Inscription of Cultural Specificity
title_full Polish Culture? World on Fire, Transnational Coproduction and the Inscription of Cultural Specificity
title_fullStr Polish Culture? World on Fire, Transnational Coproduction and the Inscription of Cultural Specificity
title_full_unstemmed Polish Culture? World on Fire, Transnational Coproduction and the Inscription of Cultural Specificity
title_sort Polish Culture? World on Fire, Transnational Coproduction and the Inscription of Cultural Specificity
author_id_str_mv 404f689e6ac53f83deca163c90483627
author_id_fullname_str_mv 404f689e6ac53f83deca163c90483627_***_Joanna Rydzewska
author Joanna Rydzewska
author2 Joanna Rydzewska
format Book chapter
container_title TV Drama in the Multiplatform Era: Transnational Coproduction and Cultural Specificity
publishDate 2023
institution Swansea University
publisher Palgrave Macmillan
college_str Faculty of Humanities and Social Sciences
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hierarchy_top_id facultyofhumanitiesandsocialsciences
hierarchy_top_title Faculty of Humanities and Social Sciences
hierarchy_parent_id facultyofhumanitiesandsocialsciences
hierarchy_parent_title Faculty of Humanities and Social Sciences
department_str School of Culture and Communication - Media, Communications, Journalism and PR{{{_:::_}}}Faculty of Humanities and Social Sciences{{{_:::_}}}School of Culture and Communication - Media, Communications, Journalism and PR
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description This chapter studies the first season of BBC/PBS coproduction World on Fire (2019-) as an example of new high-end transnational television drama which foregrounds cultural specificity as a means to target an international audience. By analysing World on Fire’s unprecedented foregrounding of a Polish experience of World War II, we show how the serial exemplifies the increased salience of cultural specificity for high-end TV drama and deploys both textual and aesthetic strategies to inscribe this. The chapter analyses how World on Fire’s story reframes the (British) national myths of WWII that have traditionally put emphasis on the UK’s ‘Home Front’ by instead highlighting Polish heroism and an Anglo-Polish connection. We argue that World on Fire’s introduction of the heroic Pole archetype subverts previous representations of Poland exclusively focused on images of migrants. Another objective of this chapter is to trace WoF’s inception as a transnational coproduction and an example of alignment between the cultural objectives of national public broadcasters and the commercial necessity to address an international audience. We suggest that the strategies around cultural specificity in WoF respond to the challenges of the multiplatform era, which include the capacity to engage and/or appeal to multinational SVoDs and their subscribers.
published_date 2023-12-31T11:03:17Z
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score 11.0128355

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