Book contents
- Frontmatter
- Table of Contents
- Acknowledgements
- Introduction
- 1 Fear and the Fragility of Myths
- 2 Playing Games with Heritage
- 3 Drama Writing and Audiences as Affective Superaddressee
- 4 Producing Art, Producing Difference
- 5 Making Reality TV: The Pleasures of Disciplining in a Control Society
- Reflections
- References
- Index
4 - Producing Art, Producing Difference
Published online by Cambridge University Press: 10 January 2023
- Frontmatter
- Table of Contents
- Acknowledgements
- Introduction
- 1 Fear and the Fragility of Myths
- 2 Playing Games with Heritage
- 3 Drama Writing and Audiences as Affective Superaddressee
- 4 Producing Art, Producing Difference
- 5 Making Reality TV: The Pleasures of Disciplining in a Control Society
- Reflections
- References
- Index
Summary
Abstract
If the old-timers of media production in Singapore had developed a set of established work practices that serve the status quo, what are the potentials for newcomers to change that? Chapter Four follows the journey of a new director determined to challenge prevailing practices that uphold the status quo in mass media production. It demonstrates both the reliability and the incompleteness of ideological reproduction by detailing how initial contestations that risked to tear the fabric of the dominant social order eventually ended up reinforcing categorical boundaries. Focusing on the affective ideational practices of producers when making a state-sponsored art drama, I argue that what ultimately enabled the dominant social imaginary to prevail were myths of cultural and linguistic difference in society.
Keywords: Ideological reproduction; Status quo; Affective ideational practices; Myths of multiculturalism; Affective myth; Chinese audience
Ivan was one of the most passionate directors I had ever met. Having been highly recommended by two informants on separate occasions, his name came to my mind when my Executive Producer asked me if I knew any new directors for a potential project for MediaCorp's online platform. The project, Loving Art, was a government funded short-form drama series about the arts in Singapore. Even though Ivan mostly directed English-language dramas, he decided to join the team on his first Chinese-language production because the theme, arts in Singapore, was something he felt strongly about. As we got to know each other better through the pre-production process, I increasingly marvelled at his grand ambitions to model his work after global productions like Game of Thrones, his vision to ‘lead the audience’, and his genuine desire to change the media landscape in Singapore. This was not an easy feat for someone working in an industry plagued by inertia and perpetually low budgets.
Throughout the production process, Ivan repeatedly expressed his wish to challenge the status quo in Singapore through his work. However, that weighed heavily on his mind every time he asked me to join him for smoke breaks after clashing with colleagues. Different working styles and his entry into the team as a first-time director of Chinese-language productions caused frictions.
- Type
- Chapter
- Information
- Performing Fear in Television ProductionPractices of an Illiberal Democracy, pp. 115 - 140Publisher: Amsterdam University PressPrint publication year: 2022