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Adventure Fantasy and International Television Exchanges: Xena: Warrior Princess and Renegotiations of Place

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The intensification of international capitalism and travel, and the development of new media technologies impacted on the filming in New Zealand of the US programme Xena: Warrior Princess. International negotiations between the places of production were inscribed into the show, and are evident in the cinematography, script, dialogue, performances, sound and editing. These international exchanges also contribute to the programme's distinctive postmodern bricolage and camp style, both exposing and blurring national boundaries. These elements are refracted through local conditions, the legacy of British colonisation, United States neo-colonialism and idiosyncratic input from individuals.

Keywords: Xena: Warrior Princess; New Zealand; co-production; globalisation; identity; nation; place

Document Type: Research Article


Affiliations: University of Auckland

Publication date: March 1, 2008

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  • Critical Studies in Television publishes articles that draw together divergent disciplines and different ways of thinking, to promote and advance television as a distinct academic discipline. It welcomes contributions on any aspect of television—production studies and institutional histories, audience and reception studies, theoretical approaches, conceptual paradigms and pedagogical questions. It continues to invite analyses of the compositional principles and aesthetics of texts, as well as contextual matters relating to both contemporary and past productions. CST also features book reviews, dossiers and debates. The journal is scholarly but accessible, dedicated to generating new knowledge and fostering a dynamic intellectual platform for television studies.
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