Reclaiming Female Authorship in Contemporary UK Television Comedy (Edinburgh Studies in Television)

by: Laura Minor (Author)

Publisher: Edinburgh University Press

Publication Date: 2024-08-31

Language: English

Print Length: 192 pages

ISBN-10: 1399503014

ISBN-13: 9781399503013

Book Description

This book explores female authorship in UK television comedy, with a focus on British and Northern Irish writers/performers. More specifically, it examines comedy texts produced between 2010 and 2020, a period marked by a proliferation of female-centric and female-created comedy. In the following order, comedians Julia Davis, Phoebe Waller-Bridge, Caitlin/Caroline Moran, Michaela Coel, and Sharon Horgan will be analysed as key case studies.Drawing from these case studies, the book has two objectives. First, it seeks to update Kathleen Rowe’s concept of the ‘unruly’ woman, shifting the emphasis from visibility and performance to the labour and contexts behind on-screen portrayals. Building on Rowe’s existing scholarship, the book introduces the term ‘fastidious’ to describe how comedians display delicacy, precision, and control over their carefully crafted TV series. Secondly, the book aims to extend this concept to British and Northern Irish TV writers/performers who have been either overlooked or examined within broader transnational projects. In doing so, it ‘reclaims’ the authorship of women from the UK.

Editorial Reviews

This book explores female authorship in UK television comedy, with a focus on British and Northern Irish writers/performers. More specifically, it examines comedy texts produced between 2010 and 2020, a period marked by a proliferation of female-centric and female-created comedy. In the following order, comedians Julia Davis, Phoebe Waller-Bridge, Caitlin/Caroline Moran, Michaela Coel, and Sharon Horgan will be analysed as key case studies.Drawing from these case studies, the book has two objectives. First, it seeks to update Kathleen Rowe’s concept of the ‘unruly’ woman, shifting the emphasis from visibility and performance to the labour and contexts behind on-screen portrayals. Building on Rowe’s existing scholarship, the book introduces the term ‘fastidious’ to describe how comedians display delicacy, precision, and control over their carefully crafted TV series. Secondly, the book aims to extend this concept to British and Northern Irish TV writers/performers who have been either overlooked or examined within broader transnational projects. In doing so, it ‘reclaims’ the authorship of women from the UK.

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