Tessa Dwyer Tessa Dwyer i(12831244 works by)
Gender: Female
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Works By

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1 Repeat Offender : TV Remakes, Reboots and Revival from Prisoner to Wentworth and Beyond Tessa Dwyer , Philippa Burne , 2022 single work criticism
— Appears in: TV Transformations and Transgressive Women : From Prisoner : Cell Block H to Wentworth 2022;
1 Breakout Women : Introduction to TV Transformations, Gender and Transgression Radha O'Meara , Tessa Dwyer , Stayci Taylor , Craig Batty , 2022 single work criticism
— Appears in: TV Transformations and Transgressive Women : From Prisoner : Cell Block H to Wentworth 2022;
1 Amazon’s Resuscitation of Neighbours : Can Aussie TV Become Good Friends with Streaming? Tessa Dwyer , Radha O'Meara , 2022 single work column
— Appears in: The Conversation , 25 November 2022;

'Many were shocked by the announcement last Friday that Australian soap opera Neighbours would return to screens in 2023, courtesy of a new deal between production house Fremantle Australia and multinational digital streamer Amazon. Significantly, this announcement overturns many expectations about television in the age of streaming.'

1 1 y separately published work icon TV Transformations and Transgressive Women : From Prisoner : Cell Block H to Wentworth Radha O'Meara (editor), Tessa Dwyer (editor), Stayci Taylor (editor), Craig Batty (editor), Oxford : Peter Lang , 2022 24758534 2022 anthology criticism

'A deep dive into iconic 1980s Australian women-in-prison TV drama Prisoner (aka Cell Block H), its contemporary reimagining as Wentworth, and its broader, global industry significance and influence, this book brings together a range of scholarly and industry perspectives, including an interview with actor Shareena Clanton (Wentworth’s Doreen Anderson). Its chapters draw on talks with producers, screenwriters and casting; fan voices from the Wentworth twitterverse; comparisons with Netflix’s Orange is the New Black; queer and LGBTQ approaches; and international production histories and contexts. By charting a path from Prisoner to Wentworth, the book offers a new mapping of TV shifts and transformations through the lens of female transgression, ruminating on the history, currency, industry position and cultural value of women-in-prison series.'

Source: Abstract.

1 Accented Relations : Mad Max on US Screens Tessa Dwyer , 2018 single work criticism
— Appears in: American–Australian Cinema : Transnational Connections 2018; (p. 117-139)
Tracks the American film industry's changing relationship to the Mad Max films over the course of forty years, from Mad Max to Mad Max: Fury Road.
1 Changing Accents : Place, Voice and Top of the Lake Tessa Dwyer , 2018 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 12 no. 1 2018; (p. 14-28)

'This article examines the role that locality, cultural specificity and authentic voice play within current television industry shifts and transnational developments. Focussing on Top of the Lake, I explore its thematic and aesthetic preoccupation with place, voice and nation by spotlighting issues of accent and vocal in/authenticity, detailing the controversy sparked when US star Elisabeth Moss was cast as New Zealand native, detective Robin Griffin. The adopted Antipodean accent furnished by Moss creates a highly ambivalent foregrounding and re-negotiation of the national within the particularly transnational space of post-broadcast ‘quality’ television. Presenting a ‘sonic spectacle’ (Holliday, Christopher. 2015. “The Accented American: The New Voices of British Stardom on US Television.” Journal of British Cinema and Television 12 (1): 63–82), Moss’ wobbly accent makes audiences doubly aware of the effort being expended to cue regional specificity and locale. In the following discussion, Moss’ vocal crafting in Top of the Lake is linked to the increasing importance given to authentic place and on-location shooting within post-broadcast television, as a means of fostering emotional pull and deep levels of viewer engagement. In Top of the Lake, links between place and authenticity are further interrogated via its self-aware invocation of touristic imagery and desires – made all the more nuanced due to Campion's presence as auteur and New Zealand's role as media-tourism mecca.' (Publication abstract)

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