Relevant bibliographies by topics / Serialized television

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Serialized television'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Serialized television"

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Wielgus, Alison. "“The Harder I Swim, the Faster I Sink”." Camera Obscura: Feminism, Culture, and Media Studies 34, no. 2 (2019): 71–101. http://dx.doi.org/10.1215/02705346-7584916.

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This essay considers the role that Jane Campion’s Top of the Lake (BBC/SundanceTV, 2013) and Top of the Lake: China Girl (BBC/SundanceTV, 2017) play in the post-network television landscape. Situating the series among the globalized genre of serialized post-network crime shows that feature female detectives, this essay argues that Campion reworks the genre’s fascination with victimized women from her auteurist and Antipodean perspective. While the characterization and actions of the female detective resonate with other programs’ protagonists, Campion challenges dominant discourses of victimize
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Martin, Amaya. "NAJI ATTALLAH’S CREW: STEREOTYPES OF JEWS, ARABS, AND AMERICANS IN EGYPT’S MOST-­‐WATCHED RAMADAN 2012 SOAP OPERA." Levantine Review 4, no. 1 (2015): 8. http://dx.doi.org/10.6017/lev.v4i1.8717.

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In addition to its strict fasting regiments, observed by practicing Muslims, the month of Ramadan has become known for its high viewership of serialized television programs throughout the Arabic-speaking world. During Ramadan - a month during which millions partake of festive fast breaking (Iftaar) gatherings after sundown - competition among television stations pull all the stops to attract the largest audiences possible, often by offering compelling seasonal soap operas featuring major local and pan-Arab actors.
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Elliott, Tomas. "Shakespearean Seriality: The ‘Hollow Crown’, the ‘Wooden O’, and the ‘Circle in the Water’ of History." Adaptation 12, no. 2 (2018): 69–88. http://dx.doi.org/10.1093/adaptation/apy013.

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AbstractThe recent adaptation of Shakespeare’s tetralogies into a two-season television mini-series by the BBC gives new impetus to an age-old question: how do seriality and Shakespeare relate? In The Hollow Crown (2012) and The Wars of the Roses (2016), Richard II’s ‘scepter’d isle’ transforms into 2 Henry VI’s ‘fertile England’ before becoming ‘mad and scarred’ in Richard III. In this ‘swelling scene’ of Shakespearean seriality, ‘time jumps o’er’ from one episode to the next, inviting us to reconsider the spatio-temporal flows of serialized history in the theatre and on screen. Whereas both
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Bignell, Jonathan. "Performing the Identity of the Medium: Adaptation and Television Historiography." Adaptation 12, no. 2 (2019): 149–64. http://dx.doi.org/10.1093/adaptation/apz017.

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AbstractThis article focuses on how histories of television construct narratives about what the medium is, how it changes, and how it works in relation to other media. The key examples discussed are dramatic adaptations made and screened in Britain. They include early forms of live transmission of performance shot with multiple cameras, usually in a TV studio, with the aim of bringing an intimate and immediate experience to the viewer. This form shares aspects of medial identity with broadcast radio and live television programmes, and with theatre. The article also analyses adaptations of a la
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Engelstad, Audun. "Watching Politics." Nordicom Review 29, no. 2 (2008): 309–24. http://dx.doi.org/10.1515/nor-2017-0193.

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Abstract What can fictional television drama tell us about politics? Are political events foremost related to the personal crises and victories of the on-screen characters, or can the events reveal some insights about the decision-making process itself? Much of the writing on popular culture sees the representation of politics in film and television as predominately concerned with how political aspects are played out on an individual level. Yet the critical interest in the successful television series The West Wing praises how the series gives insights into a wide range of political issues, an
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Creeber, Glen. "It’s not TV, it’s online drama: The return of the intimate screen." International Journal of Cultural Studies 14, no. 6 (2011): 591–606. http://dx.doi.org/10.1177/1367877911402589.

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This article will focus on the subject of ‘online drama’, i.e. drama made specifically to be viewed on the Internet. It aims to investigate and account for this new and unique form of serialized drama, explain and clarify its historical origins, locate its generic characteristics and account for and understand its role in the contemporary media landscape. In particular, it will argue that online drama reveals much about the future of broadcasting as a whole and points the direction towards many of the fundamental changes that are taking place in the very aesthetics of contemporary ‘television’
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Lee, Jin-kyung. "Visualizing and Invisibilizing the Subempire: Labor, Humanitarianism, and Popular Culture across South Korea and Southeast and South Asia." Journal of Korean Studies 23, no. 1 (2018): 95–109. http://dx.doi.org/10.1215/21581665-4339071.

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Abstract This article examines five South Korean TV programs, The Age of Global Success, Love in Asia, Asia Hunter, KOICA’s Dream, and Saving Mrs. Go Bongshil, all of which belong to varied and hybrid genres such as news magazine, serialized documentary, reality show, and television drama. Due to its partially elevated status as a middlebrow medium and its ability to combine multiple functions such as entertainment, information, education, and social engineering, South Korean television is a more socially influential popular medium than its Western counterparts. I argue that South Korean popul
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Buchholz, Laura Daniel. "Reconstructing LOST: Connecting storyworld geography to narrative comprehension in online Wiki communities." Frontiers of Narrative Studies 4, no. 2 (2018): 248–62. http://dx.doi.org/10.1515/fns-2018-0021.

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AbstractThis paper examines how viewers of the ABC television show Lost collaboratively reconstructed the geography of the fictional island at the center of the show’s plot through an online encyclopedic wiki, Wikia’s Lostpedia. Examining participant activity on the wiki site over the course of the show’s six-year run reveals how narrative audiences initially processed information about the storyworld space as well as how those audiences revised their ideas and assumptions as the serialized story progressed. Here I use “The Island” page’s revision history to trace the means by which participan
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Kang, Jennifer M. "Just another platform for television? The emerging web dramas as digital culture in South Korea." Media, Culture & Society 39, no. 5 (2017): 762–72. http://dx.doi.org/10.1177/0163443717709442.

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Web dramas, which are original serialized dramas that are released primarily on online platforms, are a recent development of digital content in South Korea. As web dramas are intended for mobile viewing environments, this study examines how distribution influenced this emerging form. Particularly, it argues for the consideration of the power of distribution, which does not happen as an afterthought or separate from other areas, but can wield influence on the production, finances, and other business practices of web dramas. Audiences are envisioned as viewing web dramas on the go, so web drama
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Fisher, Maryanne L. "Why Who Shot J. R. Matters: Dallas as the Pinnacle of Human Evolutionary Television." Review of General Psychology 16, no. 2 (2012): 200–207. http://dx.doi.org/10.1037/a0027915.

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The TV series Dallas remains one of the most popular shows to ever have been broadcast on American TV. It was a serialized prime-time soap opera with weekly 45 minute episodes that ran from 1978 until 1991. This long-running show is one of the few to have been entirely released in DVD format; all 14 seasons are available as of 2011, and reruns are still aired internationally. Hundreds of thousands of visitors still tour the Southfork Ranch used for filming, outside Dallas, Texas. I will argue that the reason for this show's success is because it routinely depicted themes that align with our ev
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Dissertations / Theses on the topic "Serialized television"

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Jones, Joshua B. "TransTV: Transgender Visibility and Representation in Serialized Television." Miami University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=miami1469625819.

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Mielke, Christine. "Zyklisch-serielle Narration : erzähltes Erzählen von 1001 Nacht bis zur TV-Serie /." Berlin [u.a.] : Gruyter, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2774827&prov=M&dokv̲ar=1&doke̲xt=htm.

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Berridge, Susan. "Serialised sexual violence in teen television drama series." Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/2326/.

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This thesis examines the kinds of stories about teenage sexual violence that are enabled (or not) by US and British teen television drama series between 1990 and 2008. This genre is centrally concerned with issues of sexuality and, in particular, sexual vulnerability as teenage characters negotiate the transition from childhood to adulthood. Sexual violence narratives are common within this context. This thesis argues that a fuller understanding of representations of sexual violence is enabled by contextualising these narratives in relation to overall series’ and generic contexts. I employ a s
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Callaghan, Daniel. "The representation of prohibition in fully-serialised American prestige television." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/80895/.

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This thesis brings together three recent examples of fully-serialised American prestige television drama for sustained close textual analysis, focused on the way that the subject of prohibition is represented in each series. The Wire, Boardwalk Empire and Breaking Bad all involve prolonged engagement with prohibited markets as a major component of their storylines, but the importance of this subject has been under-appreciated or ignored within television criticism. This research explores how each series characterises the topic of prohibition, with particular emphasis on the way that each case
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Lacalle, Zalduendo María Rosario. "La serialidad en la información televisiva. Los telediarios." Doctoral thesis, Universitat Autònoma de Barcelona, 1990. http://hdl.handle.net/10803/4202.

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Benassi, Stéphane Nel Noël. "TELEVISION ET SERIALITE ELEMENTS POUR UNE TYPOLOGIE DES GENRES FICTIONNELS TELEVISUELS /." [S.l.] : [s.n.], 1998. ftp://ftp.scd.univ-metz.fr/pub/Theses/1998/Benassi.Stephane.LMZ9802.pdf.

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Favard, Florent. "La promesse d'un dénouement : énigmes, quêtes et voyages dans le temps dans les séries télévisées de science-fiction contemporaines." Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30045/document.

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Il est question d’analyser une tendance marquée des séries de science-fiction contemporaines, qui proposent un récit complexe et feuilletonnant, impliquant une intense participation de la part des spectateur.ice.s ; ces dernie.re.s se voient promettre, via l’énigme, la quête et/ou le voyage dans le temps, un dénouement qui serait la conséquence logique des évènements mis en scène. Au travers des énigmes de Lost (2004-2010, ABC), de la quête des humains dans Battlestar Galactica (2004-2009, Sci-Fi) ou de l’utilisation du voyage dans le temps dans Doctor Who (2005- ?, BBC1), il est possible de d
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Books on the topic "Serialized television"

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Hayward, Jennifer Poole. Consuming pleasures: Active audiences and serial fictions from Dickens to soap opera. University Press of Kentucky, 1997.

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Virdis, Daniela Francesca. Serialised gender: A linguistic analysis of femininities in contemporary TV series and media. ECIG, 2012.

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Hudson, Dale. Other Vampires, Other Hollywoods: Serialized Citizenship and Narrowcast Difference. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423083.003.0008.

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This chapter explores an explosion of serialized vampires after television’s deregulation. Like newspapers and newscasts, serialized television can produce national audiences around topical issues about citizenship and difference. What cinema often excludes due to the financial risk, television can include by offshoring production and narrowcasting transmission. Although Buffy the Vampire Slayer (1997–2003) ushered in “girl power” and a place for same-sex relationships, it was criticized for its racial insensitivity. With greater racial/ethnic diversity, True Blood, The Vampire Diaries, and Th
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Aubry, Danielle. Du Roman-Feuilleton a la Serie Televisuelle: Pour Une Rhetorique Du Genre Et de La Serialite. Peter Lang Publishing, 2006.

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Populäre Serialität: Narration - Evolution - Distinktion : zum seriellen Erzählen seit dem 19. Jahrhundert. Transcript, 2012.

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1938-, Giesenfeld Günter, ed. Endlose Geschichten: Serialität in den Medien : ein Sammelband. Olms, 1994.

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Mittermeier, Sabrina, and Mareike Spychala, eds. Fighting for the Future. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621761.001.0001.

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The first two seasons of the television series Star Trek: Discovery, the newest instalment in the long-running and influential Star Trek franchise, received media and academic attention from the moment they arrived on screen. Discovery makes several key changes to Star Trek’s well-known narrative formulae, particularly the use of more serialized storytelling, appealing to audiences’ changed viewing habits in the streaming age – and yet the storylines, in their topical nature and the broad range of socio-political issues they engage with, continue in the political vein of the franchise’s megate
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Book chapters on the topic "Serialized television"

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Abbott, Stacey. "A Very Slow Apocalypse: Zombie TV." In Undead Apocalypse. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748694907.003.0005.

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This chapter examines the role of the zombie within TV horror both in terms of a long established tradition of monster-of-the-week through to the increasingly prevalent place that the zombie plays within contemporary serialised television. This chapter challenges the dismissal of television as an appropriate space for horror and the political allegory often associated with Romero’s zombie films, by presenting a series of case studies in which the TV zombie serves such as narrative and thematic purpose. In particular it considers how the serialized nature of television, exemplified by the soap opera format, is well suited to the zombie narrative in which closure is traditionally denied. It also serves to structure the nature and function of allegory within the televisual zombie format. Case studies include: Buffy the Vampire Slayer, Supernatural, The Walking Dead and In the Flesh.
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Boczkowski, Pablo J. "Entertainment." In Abundance. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197565742.003.0005.

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Chapter 5 focuses on the reception of entertainment. The survey reveals that the top three entertainment activities among the respondents are watching television, listening to music, and being on social media, in that order, and that age is the preeminent organizer of entertainment consumption. The interviews show the continued relevance of routines in reception practices, and highlight the versatility of watching television. This versatility applies to how people access the content; the devices through which they watch it; with whom they do this; and the habits associated with this experience. This versatility contrasts with the perceived rigidity of going to the movies, watching a play, and visiting a museum. The affect related to consuming audiovisual entertainment within the household is overwhelmingly positive, and there is a high level of attachment to serialized content on streaming platforms. The analysis shows an experiential appreciation of audiovisual entertainment content on television.
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Taylor, James C. "Renewing Hegemonic Masculinity Every Wednesday." In Toxic Masculinity. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828934.003.0003.

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Drawing from Umberto Eco and Federic Pagello, this chapter discusses superhero texts’ serialized narration in light of the repetition of storylines and how this is (or is not) produced in both comics and television format by elaborating on the link between hypermasculinity, physicality, and the powerful body through textual and extra-textual strategies. This chapter explores the way the main actor – Stephen Amell – narrates his masculinity and interlocks it with Oliver/Arrow’s, including Amell’s continuous communication with fans over social media and forays into WWE wrestling. The use of textual and extra-textual strategies highlights how serialization ritualizes the display of gendered bodies and how TV, with its use of live actors, further erodes the lines between reality and fiction.
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Benson, Nicholas, and Jonathan Gray. "All This Has Happened Before: Mythic Repetition in the Film-to-Television Reboot." In Film Reboots. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474451369.003.0008.

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This chapter examines the phenomenon of film-to-television reboots. Noting that television has increasingly become a space for expanding and reinvigorating pre-existing story worlds of feature films, it inquires into the intertextual and narrative strategies that are employed when comparatively limited texts are extended and serialised for television screens. Taking the pilots of television reboots of high-profile feature films – Fargo and The Exorcist – as its case studies, it argues that the strategy of adaptation is to uncover the ‘mythic’ qualities and structures of the source material in order to build their respective televisual narratives upon these foundations. This chapter asserts that the development of the mythic value of these original texts is essential for the film-to-television reboot.
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Journal articles
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