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Media AudiencesTelevision, Meaning and Emotion$
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Kristyn Gorton

Print publication date: 2009

Print ISBN-13: 9780748624171

Published to Edinburgh Scholarship Online: September 2012

DOI: 10.3366/edinburgh/9780748624171.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 18 September 2021

A Sentimental Journey: writing emotion in television

A Sentimental Journey: writing emotion in television

Chapter:
(p.89) 6 A Sentimental Journey: writing emotion in television
Source:
Media Audiences
Author(s):

Kristyn Gorton

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748624171.003.0007

As the first of the case studies on emotion in television, this chapter considers the importance of writing to the construction of emotion in a television text, by drawing on an interview with British television writer/producer Kay Mellor. Although there has been little academic engagement with her work, Mellor is undoubtedly a major television phenomenon. Her work might usefully be situated within the broader context of the British social reality tradition and reflects both the concerns inherent to this project and also the more recent shifts within it. Mellor clearly identifies empathy as a fundamental aspect in creating a connection between viewer and screen. Indeed, what Mellor's work demonstrates is a sentimental engagement between spectator and screen that is not fantastical but is nonetheless affective and which provides an emotional simulation between character and viewer that may perhaps resonate more profoundly than previous understandings of emotional engagements have allowed.

Keywords:   Television screenwriting, Sentimentalism, Kay Mellor, British television

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