Download Life on Mars: From Manchester To New York by Stephen Lacey, Ruth McElroy PDF

By Stephen Lacey, Ruth McElroy

This assortment is the 1st book-length examine devoted to the British tv sequence Life on Mars, the yankee remake, and its sequel, Ashes to Ashes. Stephen Lacey and Ruth McElroy assemble specialists to interact seriously with the sequence. one of the themes mentioned are tv in the nationwide and foreign industry; style and narrative; the sequence’ illustration of the Nineteen Seventies and its portrayal of “Britishness”; and the influence of and the reaction to the sequence within the United States.

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Extra resources for Life on Mars: From Manchester To New York

Sample text

In his words, borrowed for the epigraph for this chapter, Life on Mars was conceived as ‘just your regular run-of-the-mill time-travelling cop show’ (Graham 2008). In an industry context where producers are always seeking to replicate successful programmes, albeit with that all-important twist, it is unlikely to have escaped the notice of the creators of Life on Mars that another ‘regular run-of-the-mill time-travelling cop show’ has achieved considerable success in the British television schedules.

Hunt’s crude but direct form of justice has had popular appeal in British drama since the consolidated state agencies outlawed direct revenge under the reign of Elizabeth I. A line can be drawn all the way from Hamlet (1601) and The Revenger’s Tragedy (1607) through to television’s Trial and Retribution (ITV, 1997–2009). But the popular trope is ultimately enriched in Life on Mars in the rounding of a familiar, stock figure with a deepening of character motive to produce the memorable icon that Hunt has become.

The genre of crime fiction, however, is clearly established in the opening scenes of the first episode of Life on Mars with the aforementioned narrative space, the questioning of a murder suspect and the examination of a potential crime scene. However ,the episode takes a generic twist when Sam is hit by a car and wakes up in 1973. Sam’s confusion increases throughout the episode, as he begins hearing voices from 2006 and seeing personalised messages on his seventies television screen. The audience shares Sam’s confusion, and at the start of the second episode a new dimension to the mystery is added in a pre-credits voiceover.

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