Head of the Organising Committee
Sanna Turoma
sanna.turoma [at] helsinki.fi

Conference Coordinator
Kaarina Aitamurto
kaarina.aitamurto [at] helsinki.fi

Conference Secretary
Maarit Elo-Valente
maarit.elo-valente [at] helsinki.fi

Conference Intern
Miikka Piiroinen
miikka.piiroinen [at] helsinki.fi

Conference e-mail:
fcree-aleksconf [at] helsinki.fi


The Aleksanteri Institute

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00014 University of Helsinki
phone +358-(0)50-3565 802

aleksanteri [at] helsinki.fi

 

Past Aleksanteri Conferences

Elena Fedotova (The National Research University Higher School of Economics, Russia)

Nostalgia Phenomenon in British and Russian TV Series (2012-2014)

The aim of the research is to discover the nostalgic series segment in broadcast of British and Russian mass audience-oriented TV Channels BBC One, ITV, Channel One Russia and Russia 1. In the first place, we define media interest in stories set in the past using statistical analysis of broadcast schedules for two television seasons starting from 1st September of 2012 and ending on 31st August 2014. As a result we describe some trends in representation of the past on TV coding the gathered data in graphics to show an amount of series set in each decade of XX century, etc. Then making a case study of series set in the three most popular decades not only in Britain but also in Russia, which are 50s, 60s and 80s according to our quantitative analysis, we limit the research to the TV drama genre scanning. On the qualitative analysis stage of the work we compare nostalgic narrative of series with similar plot lines. We research everyday objects, value orientations and the symbols of an era pictured in shows 'The Bletchley Circle' (2012, ITV), 'Krik Sovy / The Scream of An Owl' (2013, Channel One Russia), 'The Indian Doctor' (2010, BBC One), 'Ottepel / The Thaw' (2013, Channel One Russia), 'The Field of Blood' (2011, BBC One), 'S Tchego Nachinayetsa Rodina / What Begins The Motherland' (2014, Channel One Russia). The preliminary results of this research showed proportions of series set in the present and series set in the past, with special interest in 40s decade for Russia and popularity of 50s decade in UK. The anticipated outcome of this work is the nostalgic studies development in the field of media research. The findings may be useful for creative companies producing nostalgic content, media workers, public history and mass media scholars.