Television production and viewing are a rich ground for ethnography. The location of the creative imagination, industries devoted to tv production, and series' impact on watchers all ask for comparative, ethnographic attention.
Television has joined other media in circulating stories both fictional and (believed to be) true. In watching them, viewers absorb such narratives, interact or get obsessed with them, are entertained and/or disturbed. The worlds of television production and viewing as well as the interweaving of critical discourses about them are a rich ground for ethnographic work of the present. The differential location of the creative imagination, both in its production and its reception asks for attention from a variety of ethnographic angles and theoretical stances and warrants a comparative perspective. There are prime television production countries; there are others that import from countries with different histories and politics and thus participate in realities and visions generated elsewhere. We invite papers on the occupational cultures of soap and series writers, directors, actors, stage hands, and assistants: the uncertainties of employment in this creative industry stand in stark contrast to the allure of being involved in crafting e/affective narrative universes. We are equally interested in communities of watchers sharing in the broadcast imaginaries, engaging with stories, characters, actors, show runners in daily life. The hold of stories on screen has increased exponentially with the streaming of television via digital screens, as has the interweaving with the capital that supports and advertises through these productions. The plethora and simultaneity of all these stories - from action to romance, manor house to starship - and their hold on lived realities will be reflected through the perspectives brought together in the panel.