Homeland and The Killing: Format Adaptation and High-End Drama

Abstract

This thesis explores the adaptation of ‘high-end’ television drama programmes through a case study of two recent successful examples. In 2011, the American television dramas Homeland and The Killing were released. These programmes are adaptations of the serial dramas Hatufim (Prisoners of War) and Forbrydelsen (The Crime) which originated in Israel and Denmark respectively. These countries have not historically exerted any significant influence on the international television trade. Additionally, ‘high-end’ serial dramas have previously not been successful in adaptation when compared to other forms of programming such as game shows and reality programmes. This thesis asks two questions about these programmes: First, how were Homeland and The Killing adapted from their original versions?. Second, what does the success of these adaptations reveal about the broader context of the international television trade, specifically in the realm of ‘high-end’ serial drama? These questions are explored over four chapters throughout this thesis.

The first chapter looks at the history and current climate of the international television trade, with particular attention being given to format adaptation. This chapter also probes the accusation that the United States has engaged in ‘cultural imperialism’ due to its dominance in the global media market. The American context of ‘high-end’ serial drama is examined in the second chapter. AMC (American Movie Classics) and Showtime, the networks for which The Killing and Homeland were produced, are explored in this chapter. After this, the thesis undertakes a textual analysis of each programme, with the third chapter focusing on Forbrydelsen and The Killing and the fourth on Hatufim and Homeland. This analysis is broken down into three distinct categories to aid focus: characters; narrative and themes; and aesthetics and style. These categories reflect critical components of contemporary ‘high-end’ serial dramas.

The investigation reveals that The Killing and Homeland achieved their success in different ways. The Killing benefits from the Danish original’s worldwide appeal and is thus not a significant departure from its predecessor. Conversely, Homeland barely resembles Hatufim but the blueprint for its success comes from a unique cultural similarity between Israel and the United States. These cases speak to the changing opportunities for foreign-language drama production in the context of the continuing dominance of drama production and export by the United States. Both adaptations are hybridized mixes of foreign and American cultures and their success runs counter to ideas of American cultural imperialism. Additionally, the success of these adaptations reveals a congruence in the role that drama has come to play in both public and commercial contexts. ‘High-end’ dramas’ function as a signifier of quality and credibility make this type of programming critical for publicly-funded and commercially-funded networks.