| Authors and Corporations: | |
|---|---|
| In: | Television & New Media, 19, 2018, 6, p. 569-587 |
| published: |
SAGE Publications
|
| Media Type: | Article, E-Article |
| Physical Description: | 569-587 |
|---|---|
| ISSN: |
1527-4764
1552-8316 |
| DOI: | 10.1177/1527476418768010 |
| published in: | Television & New Media |
| Language: | English |
| Subjects: | |
| Collection: | SAGE Publications (CrossRef) |
<jats:p>Although it often goes unremarked, digital screens are a key point of commonality across the many different transnational renditions of the story of violence against girls and women found in contemporary TV crime drama. The Fall (United Kingdom, 2013–) and Top of the Lake (United Kingdom/Australia/New Zealand/United States, 2013–) are two striking examples of TV crime dramas that frame their self-conscious interrogation of rape culture through digital media. Considering the mutual imbrication of feminist politics and the deployment of new media technologies on these shows, this essay considers how the digital interface functions as a way of mediating viewer response to violence against women. Resisting a reading of digital technologies as either inherently oppressive or inherently liberatory, the essay explores how these TV series navigate the tension between the simultaneous violence of new media and its investigative/feminist/affective potential.</jats:p> |