The international success of Downton Abbey has led to a revived interest in period dramas, with older programs like The Forsyte Saga being rediscovered by a new generation of fans whose tastes also include grittier fare like Ripper Street. Though often criticized as a form of escapist, conservative nostalgia, these shows can also provide a lens to examine the class and gender politics of both the past and present.
In Upstairs and Downstairs: British Costume Drama Television from The Forsyte Saga to Downton Abbey, James Leggott and Julie Anne Taddeo provide a collection of essays that analyze key developments in the history of period dramas from the late 1960s to the present day. Contributors explore such issues as how the genre fulfills and disrupts notions of "quality television," the process of adaptation, the relationship between UK and U.S. television, and the connection between the period drama and wider developments in TV and popular culture. Additional essays examine how fans shape the content and reception of these dramas and how the genre has articulated or generated debates about gender, sexuality, and class.
In addition to Downton Abbey and Upstairs, Downstairs, other programs discussed in this collection include Call the Midwife, Danger UXB, Mr. Selfridge, Parade's End, Piece of Cake, and Poldark. Tracing the lineage of costume drama from landmark productions of the late 1960s and 1970s to some of the most talked-about productions of recent years, Upstairs and Downstairs will be of value to students, teachers, and researchers in the areas of film, television, Victorian studies, literature, gender studies, and British history and culture.
Foreword, Jerome de Groot Acknowledgments
Introduction, James Leggott and Julie Anne Taddeo
PART I: APPROACHES TO THE COSTUME DRAMA
Chapter 1: Pageantry and Populism, Democratization and Dissent: The Forgotten 1970s
Claire Monk
Chapter 2: History's Drama: Narrative Space in "Golden Age" British Television Drama
Tom Bragg
Chapter 3: "It's not clever, it's not funny, and it's not period!": Costume Comedy and British Television
James Leggott
Chapter 4: "It is but a glimpse of the world of fashion": British Costume Drama, Dickens, and Serialization
Marc Napolitano
Chapter 5: Neverending Stories?:The Paradise and the Period Drama Series
Benjamin Poore
Chapter 6: Epistolarity and Masculinity in Andrew Davies's Trollope Adaptations
Ellen Moody
Chapter 7: "What are we going to do with Uncle Arthur?": Music in the British Serialized Period Drama
Scott Strovas and Karen Beth Strovas
PART II: THE COSTUME DRAMA, HISTORY, AND HERITAGE
Chapter 8: British Historical Drama and the Middle Ages
Andrew B.R. Elliott
Chapter 9: Desacralizing the Icon: Elizabeth I and Television
Sabrina Alcorn Baron
Chapter 10: "It's not the navy-we don't stand back to stand upwards": The Onedin Line and the Changing Waters of British Maritime Identity
Mark Fryers
Chapter 11: Good-Bye to All That: Piece of Cake, Danger UXB, and the Second World War
A. Bowdoin Van Riper
Chapter 12: Upstairs, Downstairs (2010-2012) and Narratives of Domestic and Foreign Appeasement
Giselle Bastin
Chapter 13: Downton Abbey and Heritage
Katherine Byrne
Chapter 14: Experimentation and Post-Heritage in Contemporary TV Drama: Parade's End
Stella Hockenhull
PART III: THE COSTUME DRAMA, SEXUAL POLITICS, AND FANDOM
Chapter 15: "Why don't you take her?": Rape in the Poldark Narrative
Julie Anne Taddeo
Chapter 16: The Imaginative Power of Downton Abbey Fanfiction
Andrea Schmidt
Chapter 17: This Wonderful Commercial Machine: Gender, Class, and the Pleasures and Spectacle of Shopping in The Paradise and Mr. Selfridge
Andrea Wright
Chapter 18: Taking a Pregnant Pause: Interrogating the Feminist Potential of Call the Midwife
Louise FitzGerald
Chapter 19: Queer Lives: Representation and Reinterpretation in Upstairs, Downstairs and
Downton Abbey
Lucy Brown
Chapter 20: Troubled by Violence: Transnational Complexity and the Critique of Masculinity in Ripper Street
Elke Weissmann
Index
About the Editors and Contributors
