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Journal articles on the topic 'Serialized television'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

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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3

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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Virino, Concepción Cascajosa, and Vicente Rodríguez Ortega. "Daenerys Targaryen Will Save Spain:Game of Thrones, Politics, and the Public Sphere." Television & New Media 20, no. 5 (2018): 423–42. http://dx.doi.org/10.1177/1527476418770748.

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This article deals with the use of the American television series Game of Thrones (HBO: 2011–) as part of the political discourse of the emerging political party Podemos in Spain. First, we focus on Podemos leader, Pablo Iglesias, who, in 2014, edited a book devoted to analyzing this series from a political science viewpoint. We then move on to study ideologically charged symbolic gestures and the detailed analysis of the parallelisms between Daenerys Targaryen’s revolutionary enterprise and Podemos’s bottom-to-top quest to seize power. We then scrutinize how emergent political forces that thr

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Miller, Elizabeth Carolyn. "“SHREWD WOMEN OF BUSINESS”: MADAME RACHEL, VICTORIAN CONSUMERISM, AND L. T. MEADE'STHE SORCERESS OF THE STRAND." Victorian Literature and Culture 34, no. 1 (2006): 311–32. http://dx.doi.org/10.1017/s1060150306051175.

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STANLEYFISH RECENTLY IDENTIFIEDthe intersection between crime and religion as a hot topic, a trend that he gauged by paying attention to a popular television show: “Law and Order…from its beginning…has had its plots follow the headlines. Only if the tension between commitment to the rule of law and commitment to one's ethnic or religious affiliation was, so to speak, in the news would a television writer put it at the heart of a story.” During the same week that Fish published this claim, a Texas woman who drowned her five children had her guilty verdict overturned when it was revealed that an

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Yeates, Robert. "Serial fiction podcasting and participatory culture: Fan influence and representation in The Adventure Zone." European Journal of Cultural Studies 23, no. 2 (2018): 223–43. http://dx.doi.org/10.1177/1367549418786420.

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New media affords significant opportunities for audience feedback and participation, with the power to influence the creation and development of contemporary works of fiction, particularly when these appear in serialized instalments. With access to creators permitted via social media, and with online platforms facilitating the creation and distribution of audience paratexts, fans increasingly have the power to shape the fictional worlds and diversity of the characters found within the series they enjoy. A noteworthy and understudied example is fiction podcasting, an emerging form that draws on

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WORDEN, DANIEL. "Fossil-Fuel Futurity: Oil in Giant." Journal of American Studies 46, no. 2 (2012): 441–60. http://dx.doi.org/10.1017/s002187581200014x.

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Giant is a sprawling narrative, centered around the Benedict family, Texas cattle ranchers, and Jett Rink, a nouveau riche oilman. Originally serialized in Ladies' Home Journal in 1952, subsequently published as a novel, then adapted into George Stevens's 1956 film starring James Dean, Rock Hudson, and Elizabeth Taylor, Giant is a text that dramatizes the domestication and naturalization of the oil industry in the postwar United States while endorsing a multiracial vision of Texas. This essay explores how Giant ultimately arrives at nationalistic pluralism after representing the radical change

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Oldham, Joseph. "‘Disappointed romantics’: Troubled Heritage in the BBC's John le Carré Adaptations." Journal of British Cinema and Television 10, no. 4 (2013): 727–45. http://dx.doi.org/10.3366/jbctv.2013.0172.

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This article analyses three serialised adaptations of John le Carré novels produced by the BBC: Tinker Tailor Soldier Spy (1979), Smiley's People (1982) and A Perfect Spy (1987). It aims firstly to position them in the context of developments and trends during the period of the serials' production. It explores how, on the one hand, they were produced as variants on the classic serial model which aimed for a more contemporary focus and aesthetic in response to concurrent developments in British television drama, and on the other, how they have a complex and ambivalent relationship with the genr

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Demuru, Paolo. "Ficção seriada televisiva, jornalismo político e construção do real: hipóteses a partir de Greimas." Significação: Revista de Cultura Audiovisual 44, no. 48 (2017): 98. http://dx.doi.org/10.11606/issn.2316-7114.sig.2017.136851.

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O objetivo deste artigo é refletir, com base nos pilares epistemológicos da semiótica de Greimas, sobre o papel das relações entre seriados televisivos e jornalismo político no processo de formação daquilo que, em uma dada esfera sociocultural, é percebido como “mundo real”. Em particular, foca-se nos elos entre o drama House of Cards e a cobertura dos eventos que antecederam e seguiram o impeachment da ex-presidente do Brasil, Dilma Rousseff, a fim de mostrar como a interseção entre os dois universos discursivos contribui, hoje, para forjar a percepção de uma realidade política e cotidiana ca

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Navarro, Mariano. "Presentación." Revista Panamericana de Comunicación, no. 2 (December 1, 2020): 6–7. http://dx.doi.org/10.21555/rpc.v0i2.2330.

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En este número, dedicado al muy actual y pertinente estudio de la serialidad televisiva, contamos con artículos que proceden de académicos de instituciones como las universidades de Sevilla, Extremadura, Carlos III y Rey Juan Carlos en España; la Università della Santa Crocce en Italia y las universidades Iberoamericana, UNAM e ITESM en México, además de nuestra Universidad Panamericana. Aunque sin duda el cambio en los patrones de consumo de narrativas audiovisuales, en general, y series de televisión en particular, vuelve más acuciante su estudio y análisis profundo, es relevante mencionar q

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Jenner, Mareike. "Binge-watching: Video-on-demand, quality TV and mainstreaming fandom." International Journal of Cultural Studies 20, no. 3 (2015): 304–20. http://dx.doi.org/10.1177/1367877915606485.

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This article explores the concept of the binge as viewing protocol associated with fan practices, industry practice and linked to ‘cult’ and ‘quality’ serialised content. Viewing binge-watching as an intersection of discourses of industry, audience and text, the concept is analysed here as shaped by a range of issues that dominate the contemporary media landscape. In this, factors like technological developments, fan discourses and practices being adopted as ‘mainstream’ media practice, changes in the discursive construction of ‘television’ and an emerging video-on-demand industry contribute t

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Fedele, Maddalena. "La segunda generación de teen series: programas estadounidenses, británicos y españoles de los 2000-2010." INDEX COMUNICACION 11, no. 01 (2021): 297–327. http://dx.doi.org/10.33732/ixc/11/01lasegu.

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Teen series are a star media product around youth culture, and at the same time that represent the prototype of serialised fiction programmes preferred by the teen audience. This article presents the results of a study of 50 contemporary teen series, produced in The United States, The United Kingdom and Spain. Through a qualitative approach and a mixed methodology, the study draws on the fundamental characteristics of the format of the second generation of teen series. Like the first-generation productions of the 1990s, today's teen series remain prime-time star shows and continue to focus on

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Johnson, Daniel. "Re-collecting old media." Critical Studies in Television: The International Journal of Television Studies 13, no. 1 (2018): 42–59. http://dx.doi.org/10.1177/1749602017746809.

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Amachan was shown as a serialised morning drama on Japan’s Nippon Hōsō Kyōkai (NHK) network between April and September 2013. New episodes played 6 days a week, with each instalment running 15 minutes. The combination of the long-form presentation and nearly day-to-day presence helped to integrate the drama into the daily lives of its viewers, and its narrative emphasis on family relationships, experiences shared across generations and nostalgic representation of 1980s popular culture imbued Amachan with a heavy dose of intimate sentimentality. This article will analyse the myriad of ways that

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García Martínez, Alberto Nahum, and María Jesús Ortiz Díaz-Guerra. "Introducción." Espejo de Monografías de Comunicación Social, no. 1 (November 19, 2018): 11–19. http://dx.doi.org/10.52495/intro.emcs.1.c37.

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 Cine y Series. La promiscuidad infinita parte de la premisa de que hoy en día el cine es una de las principales influencias en las series de televisión, con un notable impacto tanto en la producción como en la estética.Igualmente, la maduración y exuberancia de la forma narrativa serial va dando lugar a una tendencia inversa, por lo que la influencia de los productos seriales también es reconocible en las narrativas fílmicas y en la industria del cine en general.Esta obra nos ofrece un completo panorama de las relaciones entre cine y series en la contemporaneidad. Sus autores han recogi

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Tous-Rovirosa, Anna. "Intertextualidad y género policíaco en España (1990-2010). Evolución del ámbito literario al metatelevisivo y recurrencia de la víctima femenina como motivo." Communication & Society 33, no. 4 (2020): 89–106. http://dx.doi.org/10.15581/003.33.4.89-106.

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Mediante un análisis de la intertextualidad de las producciones policíacas españolas (1990-2010), se descubre que uno de los leit-motifs de la serialidad policíaca contemporánea en televisión y en las nuevas plataformas audiovisuales, la víctima femenina, surge de la recurrencia temática y mítica (la princesa sacrificial). Se constata también el auge de la narrativa compleja, mediante la evolución de las referencias hacia la metatextualidad y autorreferencialidad. Además de las referencias que guardan relación con el género policíaco, son numerosas las que coinciden con la axiología de la prod

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Granato, Fernanda Marques, Fernanda Marques Granato, and Elisabete Alfeld Rodrigues. "Análise da construção narrativa seriada em charmed." Latin American Journal of Development 3, no. 4 (2021): 2566–72. http://dx.doi.org/10.46814/lajdv3n4-061.

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A ficção serializada é um aspecto importante da produção televisual contemporânea, é um tipo de formato que se apropria de recursos advindos da literatura, do folhetim e das novelas transmitidas por meio do rádio. Esse modelo narrativo migrou para a televisão e adquiriu características próprias. Como exemplo de narrativa seriada televisual, tem- se a série de TV norte americana Charmed, objeto de estudo da pesquisa realizada. O objetivo principal da pesquisa consistiu em analisar como a narrativa seriada foi construída, com destaque para a criação da trama que permeada de recursos fantásticos

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Crisóstomo Gálvez, Raquel. "El enemigo ya no está a las puertas. El nuevo enemigo doméstico en la serialidad estadounidense contemporánea: el caso de Dexter y Homeland." Comunicación y Hombre, no. 9 (November 15, 2013): 199–208. http://dx.doi.org/10.32466/eufv-cyh.2013.9.161.199-208.

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En la ficción serial contemporánea el enemigo cada vez adquiere una condición más doméstica, en el sentido de que pertenece al país, es originario del mismo, y sin embargo atenta contra compatriotas suyos o intereses nacionales. En muchas ocasiones esta figura convive con el enemigo clásico; y lo que es más, navega entre el heroísmo y la villanía, asumiendo incluso atributos clásicos del héroe. Todas estas características se aglutinan en el caso de los protagonistas de dos de las ficciones con más éxito de audiencia en los últimos tiempos y que quizás han ayudado a cambiar más la construcción

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Sánchez López, Pablo. "Cómo salvar el mundo intentando no llegar tarde a clase: el viaje del héroe adolescente en las series Runaways y Capa y puñal." Fonseca, Journal of Communication, no. 21 (November 26, 2020): 17. http://dx.doi.org/10.14201/fjc202021107123.

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En el siglo XXI, hemos presenciado un renacimiento o redescubrimiento de las historias clásicas de superhéroes gracias al éxito del Universo Cinematográfico Marvel. Sin embargo, este éxito no se ha replicado, hasta ahora, en otras pantallas como la televisión. Por otra parte, el formato serializado le ha permitido a Marvel mostrar otro tipo de relatos que quizás no tendrían cabida en la pantalla grande. Estamos hablando de narraciones protagonizadas por adolescentes que beben de la rica tradición de acompañantes juveniles que ha existido siempre en el mundo del cómic. Este artículo busca anali

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Garza, Patricia, Coppelia Yañez, Santiago Arenas, and Fernanda Padilla. "Beyond words_quantitative analysis of complex serial visual narrative through interaction-based modeled observations." Revista Panamericana de Comunicación, no. 2 (December 1, 2020): 21–34. http://dx.doi.org/10.21555/rpc.v0i2.2333.

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A pesar de que las diferencias entre las estructuras de la narrativa visual serializada y otro tipo de medios visuales o literarios han sido ampliamente reconocidas por la academia, el análisis cuantitativo actual del caso específico de las series de televisión aún se basa en contar instancias o en marcos generales de análisis narrativo. En este artículo intentamos reparar este desajuste mediante la construcción de un modelo basado en las interacciones entre personajes, adaptado a la complejidad de este tipo de narraciones. Para probar sus posibilidades, codificamos las tres primeras temporada

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Boisvert, Stéfany. "‘Queering’ TV, one character at a time: How audiences respond to gender-diverse TV series on social media platforms." Critical Studies in Television: The International Journal of Television Studies 15, no. 2 (2020): 183–201. http://dx.doi.org/10.1177/1749602020914479.

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This article builds further on research in gender/queer TV studies to understand how interpretive communities form around gender-diverse TV series on social media platforms, while questioning the influence a broadcaster/content provider may still have on the reception of LGBTQ characters. Since recent technological innovations have deeply upset normative definitions of television and of its ‘identity’, this article seeks to understand whether the inclusion of LGBTQ characters in TV series has a similar potential to encourage viewers to queer or challenge normative knowledges about human sexual

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Añón Lara, Alberto. "El uso del zombi como construcción metafórica en la ficción televisiva. El caso de In the Flesh." Fotocinema. Revista científica de cine y fotografía, no. 21 (July 25, 2020): 405–28. http://dx.doi.org/10.24310/fotocinema.2020.vi21.10020.

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Desde que en 1968 se estrenara La noche de los muertos vivientes (Night of the Living Dead, George A. Romero, 1968) el zombi ha funcionado como una de las figuras alegóricas más importantes del cine de terror. Ahora que las ficciones televisivas están de moda, convirtiéndose en uno de los fenómenos culturales más notables de los últimos tiempos, el género ha conseguido evolucionar gracias al formato serializado. El potencial metafórico que caracteriza a esta criatura se ha visto revitalizado por la aparición de narrativas que nos invitan a ponernos en su piel, dotándolo de capacidades cognitiv

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Benelli, Silvio José, and Samuel Iauany Martins Silva. "Subjetividade na Renovação Carismática Católica: Mecanismos de Funcionamento e de sua Produção." Psicologia: Ciência e Profissão 36, no. 3 (2016): 610–24. http://dx.doi.org/10.1590/1982-3703001432014.

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Resumo Este texto trata de discorrer sobre uma pesquisa acerca da Renovação Carismática Católica (RCC) a partir de uma revisão bibliográfica e de análise documental, desenvolvendo uma Análise Institucional (AI) “no papel” e tendo como pilar teórico, trabalhos institucionalistas desenvolvidos no campo da Psicologia social sobre o tema dos movimentos religiosos no contexto da Igreja Católica. A RCC é um movimento religioso que surgiu nos Estados Unidos da América em 1967 e se expandiu amplamente, marcando forte presença no Brasil. O principal foco deste artigo foram os mecanismos de produção de

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Hermida, Alberto, Mónica Barrientos Bueno, and Héctor J. Pérez. "Interacción entre propiedades estéticas y valor cognitivo: más allá de la absorción narrativa en La Peste." Arte, Individuo y Sociedad 33, no. 3 (2021): 995–1013. http://dx.doi.org/10.5209/aris.70654.

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El principal objetivo de este estudio es identificar y estudiar la diversidad de casos posiblesde experiencias estéticas relacionadas con el fenómeno psicológico caracterizado como absorción enLa Peste; serie televisiva de relevantes cualidades artísticas, tanto en la puesta en imagen como en ladirección de arte, incluyendo la recreación digital de decorados o su modificación. Complementariamentedescribimos el tipo de interacción que se produce entre los procesos de posible absorción estética yel contenido cognitivo de la narración. Abordamos un análisis de una gran variedad de escenas paradis

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Abbiss, Will Stanford. "Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s." Journal of British Cinema and Television 17, no. 4 (2020): 501–22. http://dx.doi.org/10.3366/jbctv.2020.0544.

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This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the London Weekend Television (LWT) series (1971–5) and its short-lived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production's attempts to recreate the success of its

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Tous-Rovirosa, Anna. "PaleoTV, NeoTV and MetaTV in US Drama Series." Comunicar 17, no. 33 (2009): 175–83. http://dx.doi.org/10.3916/c33-2009-03-009.

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This paper analyses the paleoTV, neoTV and metaTV features in three US drama series belonging to drama series genres and adventure subgenres: adventures («Lost»), crime («CSI: Crime Scene Investigation») and politics («The West Wing»). The aim of the research is to study these TV series in relation to the three eras which divide the short history of TV up to today, to determine the features that define this media in serial fiction and its relation to its own diachronic moment. The methodology of this work is based on the concepts of several scholars and makes references to other US fiction ser

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Halwani, Fuad. "The Trickster in Serialized Television: An Anti-hero of Postmodern Mythologies." AVANCA | CINEMA, February 26, 2021. http://dx.doi.org/10.37390/avancacinema.2020.a182.

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Anti-heroes have become prevalent on the television home screen since the advent of cable in the late 90s. But the shift to Quality TV made the anti-hero even more dominant in its complex narratives. In order to understand why, I had to identify what an anti-hero really is. Carl Gustav Jung’s theory of the archetypes is one of the most comprehensive and referenced theories when it comes to character development and screenwriting, but the more complex contemporary narratives are becoming, the more the theory is proving to be outdated. However, a particularly perplexing Jungian archetype stands

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Patterson, Eleanor. "Must tweet TV: ABC's #TGIT and the cultural work of programming social television." Transformative Works and Cultures 26 (March 15, 2018). http://dx.doi.org/10.3983/twc.2018.1147.

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US television network ABC developed their "Thank God It's Thursday" (TGIT) programming block in 2014 as a prime-time schedule composed of three back-to-back dramas produced by well-known TV showrunner Shonda Rhimes. From its initial development, ABC intended TGIT to be a three-hour live viewing event, encouraged by a multipronged #TGIT Twitter campaign. I consider the industrial and cultural significance of marketing the TGIT block of programming together as a cohesive block of social TV in order to encourage and structure audience participation in live television viewing. #TGIT's form of soci

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Gendler, Jason. "The Rich Inferential World of Mad Men: Serialized Television and Character Interiority." Projections 10, no. 1 (2016). http://dx.doi.org/10.3167/proj.2016.100107.

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Fedele, Maddalena, Antonio-José Planells-de-la-Maza, and Endika Rey. "La ficción seriada desde el mitoanálisis: aproximación cualitativa a los argumentos universales en Netflix, Prime Video y HBO." El profesional de la información, April 15, 2021. http://dx.doi.org/10.3145/epi.2021.mar.21.

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Recent decades have seen an unprecedented proliferation of serialized audio-visual narratives within the backdrop of the so-called third golden age of television, in the context of meta-television and quality television. The new digital platforms of content distribution have also influenced this. This article delves into the mythanalysis of current serialized audio-visual stories by analyzing their narrative structure to detect which kind of model or mythical portrayals they present to the audience. A qualitative content analysis, combined with a close reading, which included the mythanalysis

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Kang, Jennifer M. "Better than television: The rise of Korean web dramas." International Journal of Cultural Studies, May 18, 2021, 136787792110145. http://dx.doi.org/10.1177/13678779211014532.

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The web dramas produced and consumed in South Korea are a short, serialized form of content produced specifically for mobile viewing platforms. Through discursive analysis, this article examines the positioning of web dramas as a step in the evolution of television and finds that they have been legitimized as a higher-quality form than television drama because of their economic potential. To begin with, web dramas have the potential to generate synergistic economic effects impacting other areas of culture, such as tourism, television, and webtoons. Second, web dramas have been represented as t

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Clémot, Hugo. "The End of Lost: The Paradox of Serialized Television and the Experience of Loss." TV/Series, Hors séries 1 (October 14, 2016). http://dx.doi.org/10.4000/tvseries.4952.

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Plotz, John. "Serial Pleasures: The Influence of Television on the Victorian Novel." Articles, no. 63 (June 16, 2014). http://dx.doi.org/10.7202/1025619ar.

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The contemporary success of serial television as a dominant long-form narrative artwork presents both perils and possibilities for critics interested in analogous forms in previous eras. TV dramas that viewers can follow from season to season generate a sustained, often years-long, engagement between viewer and depicted world, a very different relationship between viewer and artwork from that which governed viewer relations to pre-TV Hollywood film—or indeed to the Victorian novel, even when serialized. Broad issues of contingency and intention, as well as more nuanced questions of ensemble pa

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Schmidt, Lisa. "Monstrous melodrama: Expanding the scope of melodramatic identification to interpret negative fan responses to Supernatural." Transformative Works and Cultures 4 (January 7, 2010). http://dx.doi.org/10.3983/twc.2010.0152.

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This article examines fan responses to an episode of the CW television series Supernatural; the episode features a metatext including a number of shout-outs and jokes about fandom. The most controversial of the shout-outs related to "Wincest," a form of slash featuring an incestuous sexual relationship between the two lead characters. Ien Ang's notion of melodramatic identification is revamped for use in relation to contemporary television reception and specifically to interpret negative fan responses to this episode. I argue that the theory of melodramatic identification can be employed not o

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Stork, Matthias. "The cultural economics of performance space: Negotiating fan, labor, and marketing practice in Glee’s transmedia geography." Transformative Works and Cultures 15 (January 6, 2014). http://dx.doi.org/10.3983/twc.2014.0490.

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The Fox television show Glee (2009–present) constitutes a cultural phenomenon of the digital age. Through its multiplatform marketing of musical and theatrical performance, the show has attracted a substantial fan base and created a self-sustaining economy of cultural expression. As a serialized narrative with a focus on the underdog's struggle for fame, it constructs a populist forum for fans to live their dream of becoming a star vicariously and learn how to realize it in real life—how to make it. Glee's marketing approach postulates performance as the essential element in forming an intimat

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Huerta-Floriano, Miguel-Ángel. "Six feet Under, a quality series: narrative analysis of the pilot program." Comunicar 13, no. 25 (2005). http://dx.doi.org/10.3916/c25-2005-146.

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Following the success of the film American Beauty, in 2000, the script writer and producer Alan Ball created the series Six feet under for HBO, the cable television channel. The awards, recognition and excellent reviews, as well as the national and international public response, have confered the series with a seal of unanimous approval. But, why is Six feet under a quality series? What do we mean by that? What are the basic features that explains such a great welcome throughout the world? Our purpose is to address these and other questions through the narrative analysis of the pilot program.

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Pinheiro, Cristiano Max Pereira, Mauricio Barth, André Conti Silva, and Raona Nunes. "Televisão e Serialidade: Formatos, Distribuição e Consumo." Cadernos de Comunicação 20, no. 2 (2016). http://dx.doi.org/10.5902/2316882x22925.

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O trabalho propõe uma discussão acerca das séries de televisão, contribuindo, dessa forma, para o avanço do conhecimento no assunto e para a visão da ciência aplicada. Em seu escopo teórico, utilizam-se autores como Machado (2005), Carlos (2006), Balogh (2002), Pallottini (1998), Comparato (1995) e Sydenstricker (2012), entre outros. Após a exposição dos conceitos, entende-se que as séries de televisão estão inseridas nos meios de comunicação de massa e tornaram-se um produto cultural internacional. À partir desse cenário, nota-se que há, ainda, um caminho bastante amplo a ser percorrido dentr

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García-Quismondo García, Judith. "El entretenimiento educativo en las telenovelas / The Edutainment in Soap Operas." Revista Internacional de Ciencias Humanas 4, no. 1 (2015). http://dx.doi.org/10.37467/gka-revhuman.v4.736.

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ABSTRACTTelenovela is a dramatic and visual genre, widely popular in Spanish-speaking countries, and with a booming audience in other countries such as United States. Despite the enormous television market, and the high media recognition for its major actors, telenovela productions have been submitted to a condescending and paternalistic criticism by many scholars, who constrain them either to be mere instruments to indoctrinate society to escape its problems and conform with its living circumstances, or to accompany the feminine leisure time and entertain the popular and working classes. Neve

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Rayo Bravo, Irene. "Adaptando el terror cinematográfico a la serialidad televisiva. El caso de Scream." Fotocinema revista científica de cine y fotografía, no. 14 (June 1, 2017). http://dx.doi.org/10.24310/fotocinema.2017.v0i14.3598.

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Nicolás, Jaime Costas. "El flow se estanca: el contramodelo ‘televisivo’ de Netflix." Revista de Estudos da Comunicação 15, no. 38 (2014). http://dx.doi.org/10.7213/comunicacao.15.038.ao01.

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El medio digital, concretamente la plataforma Netflix, ofrece un nuevo set de herramientas listo para revolucionar las ficciones seriales. En este nuevo contexto, el espectador adquiere el total control sobre el modo de consumir sus series favoritas, el cuándo, dónde y cuántos. Siete años después de ser cancelada, Arrested Development es resucitada para una cuarta temporada dentro de este ecosistema digital. Consciente de las posibilidades del medio, esta sitcom adopta una estructura serial inédita en la que los espectadores, debem interacinteractuar con las imágenes con el fin de reconstruir

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Nicolás, Jaime Costas. "El flow se estanca: el contramodelo ‘televisivo’ de Netflix." Revista de Estudos da Comunicação 15, no. 38 (2017). http://dx.doi.org/10.7213/rec.v15i38.22466.

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El medio digital, concretamente la plataforma Netflix, ofrece un nuevo set de herramientas listo para revolucionar las ficciones seriales. En este nuevo contexto, el espectador adquiere el total control sobre el modo de consumir sus series favoritas, el cuándo, dónde y cuántos. Siete años después de ser cancelada, Arrested Development es resucitada para una cuarta temporada dentro de este ecosistema digital. Consciente de las posibilidades del medio, esta sitcom adopta una estructura serial inédita en la que los espectadores, debem interacinteractuar con las imágenes con el fin de reconstruir

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Stauff, Markus. "Non-Fiction Transmedia: Seriality and Forensics in Media Sport." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1372.

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At last year’s Tour de France—the three-week cycling race—the winner of one stage was disqualified for allegedly obstructing a competitor. In newspapers and on social media, cycling fans immediately started a heated debate about the decision and about the actual course of events. They uploaded photographs and videos, which they had often edited and augmented with graphics to support their interpretation of the situation or to direct attention to some neglected detail (Simpson; "Tour de France").Due to their competitive character and their audience’s partisanship, modern media sports continuous

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Panek, Elliot. "Creative Communities after Television: The Collective Authorship of Channel 101." M/C Journal 9, no. 2 (2006). http://dx.doi.org/10.5204/mcj.2615.

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The recent proliferation of the video shorts on the Internet may provide a glimpse of the future of production and distribution of motion pictures. One such short, Lazy Sunday, was produced by cast members of the long-running network television program Saturday Night Live. Cast member Andy Samberg had come to the attention of network producers when they saw several comedy sketches he produced and starred in on the Internet. The popularity of Samberg’s original online-distributed videos did not occur strictly as the result of the virus-like linking and e-mailing distribution pattern that is qui

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O'Meara, Radha, and Alex Bevan. "Transmedia Theory’s Author Discourse and Its Limitations." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1366.

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As a scholarly discourse, transmedia storytelling relies heavily on conservative constructions of authorship that laud corporate architects and patriarchs such as George Lucas and J.J. Abrams as exemplars of “the creator.” This piece argues that transmedia theory works to construct patriarchal ideals of individual authorship to the detriment of alternative conceptions of transmediality, storyworlds, and authorship. The genesis for this piece was our struggle to find a transmedia storyworld that we were both familiar with, that also qualifies as “legitimate” transmedia in the eyes of our prospe

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