To see the other types of publications on this topic, follow the link: Television feature stories – Fiction.
Journal articles on the topic 'Television feature stories – Fiction'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Television feature stories – Fiction.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Otto, Wojciech. "Filmowa franczyza. Od tematu do widowiska telewizyjnego (na podstawie cyklu „Prawdziwe Historie”)." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 26, no. 35 (December 15, 2019): 159–70. http://dx.doi.org/10.14746/i.2019.35.09.
Full textAbstract:
The TV series True Stories (Prawdziwe Historie) is an example of contemporary commercial cinema. It is located on the border of documentary film and an attractive version of fictional cinema. In specific circumstances, it can be treated as a commercial product, but not only in the sense of film production and distribution, but more broadly, as a recognisable brand on the domestic cinema market, containing all the elements of industry know-how, as well as significant and commonly seen features of a film style that guarantees both turnout and financial success. In a sense, therefore, this phenomenon can be considered in terms of a film franchise which offers creators, most often beginners, a proven business patent in the form of a coherent television series, but also giving the possibility of a safe feature debut and the space for creative exploration.
2
Rueda Laffond, José Carlos, Carlota Coronado Ruiz, Catarina Duff Burnay, Amparo Guerra Gómez, Susana Díaz Pérez, and Rogério Santos. "Parallel Stories, Differentiated Histories." European Television Memories 2, no. 3 (June 30, 2013): 37. http://dx.doi.org/10.18146/2213-0969.2013.jethc030.
Full textAbstract:
Integrated into an international project on the characteristics of historical fiction on TV in Spain and Portugal during 2001–2012, the study traces the main aspects of these productions as entertainment products and memory strategies. Historical fiction on Iberian television channels express qualitative problems of interpretation. Its development must be related to issues such practices, meanings and forms of recognition, and connected with specific memory systems. The article explores a set of key–points: uses and topics of historical fiction; its visions through similarly proposals; polarization in several historical times, and its convergent perspectives about Franco and Oliveira Salazar as Iberian contemporary dictators.
3
Hewitt, K. "Revealing Humanity: the Flexible Language of Literature." Bulletin of Kemerovo State University, no. 3 (October 27, 2018): 231–36. http://dx.doi.org/10.21603/2078-8975-2018-3-231-236.
Full textAbstract:
The article features the linguistic peculiarities of four novels the author uses in her course on Contemporary English Fiction: Hilary Mantel’s A Change of Climate, Jim Crace’s Quarantine, Graham Swift’s Last Orders, and Adam Thorpe’s Ulverton. The novels probe deeply into some of the stranger aspects of human experience. Hilary Mantel writes of people who try to behave as balanced, rational beings, but to whom irrational and terrible things happen that have to be dealt with. The metaphorical language illuminates this philosophical exploration, which would otherwise be dull or unconvincing. The novel might seem strange for English readers, but the language carries the conviction of the true storyteller. J. Crace has a wonderful sense of exact words for an exact rhythm. Graham Swift’s novel is written as though it were the thoughts and memories of seven different characters. The language here is the colloquial vernacular, the language of elderly and middle-aged men and women with little education from south-eastLondon. The most extraordinary book of these four is Adam Thorpe’s Ulverton. It consists of twelve chapters, which are a chronological set separate ‘stories’ that happened between 1650 and 1988. Each chapter uses a different literary genre for the story-telling: for example, a simple first-person narrative, a sermon, a journal, letters to a lover, lecture notes, an internal monologue, and – ending the novel – a television script. Thorpe has therefore set himself a colossal task: to render into lively readable English, the concerns and passions of individuals, often illiterate individuals, while retaining a sense of the language appropriate to a particular era and a particular genre.Literature is an act of communication between writer and reader which does justice to humanity through expressive, imaginative language. Nobody would be so arrogant as to say that reading literature is the only way of ‘being human’ but more than most activities it forces us to think about people other than ourselves.Readers who would like to read more have available many other fine examples of contemporary English literature, provided by the Oxford Russia Fund for those taking part in the project on Contemporary English Literature in Russian Universities.
4
NIM, EVGENIYA G. "Bromance as a Masquerade: Adaptation and Reception of Chinese Danmei Fantasy." Art and Science of Television 18, no. 3 (2022): 105–43. http://dx.doi.org/10.30628/1994-9529-2022-18.3-105-143.
Full textAbstract:
The article discusses danmei (or boys love, BL), a fiction genre which occupies a special place in Chinese pop culture. Despite the fact that these entertainment stories are characterized by a love line between male characters, the authors and consumers of Chinese BL are primarily heterosexual women. Danmei has become popular not only in China itself, but also in many other countries, which adds relevance to the study of its reception by the Russian audience. First of all, this applies to web series television adaptations of network BL novels available to the world audience. The research focuses on a number of issues related to the production, adaptation, and consumption of danmei media content. What are the features of the genre and how does it differ from non-Chinese versions of BL? What makes danmei so attractive for women and how is the Chinese BL community structured? What strategies does the Chinese web series industry use to adapt primary sources and how do BL fans and a wider audience perceive these adaptations? The article shows the contradictions inherent in the danmei subculture: on the one hand, its proximity to the feminist and queer movements, on the other—its support for heteropatriarchal values. Special attention is paid to the analysis of the representative strategy of bromance used by Chinese producers in the TV adaptations of danmei novels under party-state censorship. In particular, I analyze the popular TV series S.C.I. Mystery (2018), Guardian (2018), The Untamed (2019), and Word of Honor (2021). Apart from de-erotizing the interactions of between the protagonists, these adaptations significantly modify the genre, plot, setting, and characters. At the same time, producers of the shows take into account the expectations of the multimillion army of danmei fans, leaving them certain opportunities for queer reading. In Russia, danmei by the web novelist Mo Xiang Tong Xiu are the most popular, as well as the fantasy web series The Untamed based on her novel Mo Dao Zu Shi. This case study of the multi-part online drama The Untamed reveal the three patterns of reception of the series by the Russian audience: bromantic, romantic and “fluid.” In conclusion, the challenges of conceptualizing danmei as a genre, subculture, and entertainment industry have been articulated.
5
Kerrigan, Lisa. "Stories That Never End: Television Fiction in the BFI National Archive." Critical Studies in Television: The International Journal of Television Studies 5, no. 2 (September 2010): 73–76. http://dx.doi.org/10.7227/cst.5.2.9.
Full text
6
Zunshine, Lisa. "The Secret Life of Fiction." PMLA/Publications of the Modern Language Association of America 130, no. 3 (May 2015): 724–31. http://dx.doi.org/10.1632/pmla.2015.130.3.724.
Full textAbstract:
A troubling feature of the common core state standards initiative (CCSSI) for english language arts (ELA) is its failure to recognize literature as a catalyst of complex thinking in students. According to the CCSSI, to “prepare all students for success in college, career, and life,” children must read texts “more complex” than “stories and literature” (“English Language Arts Standards”). The assumption that “stories” are inferior to nonfiction has a long tradition in Western culture; tapping into that prejudice is easy, and no proof seems to be required.
7
Griffin, Grahame. "‘It was a Serious Kitchen Knife’: Witnessing and Reporting Horror Crime." Media International Australia 97, no. 1 (November 2000): 123–36. http://dx.doi.org/10.1177/1329878x0009700114.
Full textAbstract:
News reports of major crime can be linked to popular fiction genres. This linkage extends to the role of the crime witness and to the reporter as witness of crime and its aftermaths. It is argued that audience identification with witnesses and witnessing creates a ‘breathing space’ for reconsideration and reassessment of the crime. To illustrate how this might work in the reporting of horror and atrocity crimes, some newspaper ‘horror’ stories, and their relationship with horror fiction conventions, are discussed along with the television ‘eyewitness' reporting of international atrocity stories.
8
Taylor, Cheryl. "Shaping a Regional Identity: Literary Non-Fiction and Short Fiction in North Queensland." Queensland Review 8, no. 2 (November 2001): 41–52. http://dx.doi.org/10.1017/s1321816600006826.
Full textAbstract:
Stories, anecdotes, and descriptive articles were the earliest publications, following the main wave of colonisation in the 1860s, to bring Queensland north and west of Proserpine to the attention of the national and international community. Such publications were also the main vehicle of an internal mythology: they shaped the identity of the inhabitants, diversified following settlement, and their sense of the region. The late date of settlement compared with south-eastern Australia meant that frontier experience continued both as a lived reality and as mythology well into the twentieth century. The self-containment of the region as actual and exemplary frontier was breached only with the arrival of television and university culture in the 1950s and 1960s.
9
Jamar, Steven D., and Christen B’anca Glenn. "When the Author Owns the World." 2013 Fall Intellectual Property Symposium Articles 1, no. 4 (March 2014): 959–78. http://dx.doi.org/10.37419/lr.v1.i4.7.
Full textAbstract:
Fan fiction is amateur writing that imaginatively reinvents a work in pop culture while maintaining the identifiable aspects of the preexisting work. Fans of various books, films, and television series write their own versions of the stories and post them online in fan fiction communities. Fan fiction as practiced today is a way for fans to creatively express themselves and become integrated into the story and world they love. The stories range from highly derivative works, where relatively few plot points are changed, to entirely new plot lines using the same world and characters of the original, underlying work. Some provide backstories about existing characters, and some are more in the nature of sequels. Some are quite original works more in the nature of “inspired by” than “derived from.”
10
Furnham, Adrian. "Remembering Stories as a Function of the Medium of Presentation." Psychological Reports 89, no. 3 (December 2001): 483–86. http://dx.doi.org/10.2466/pr0.2001.89.3.483.
Full textAbstract:
Participants (50 women, 35 men) either watched, listened to, or read a piece of fiction for television. An immediate cued recall test showed, as predicted, that the group who read the piece remembered more than either of the other two groups. This confirms previous findings on adults that recall of material presented in the print medium is superior to that from audio-only and audio-visual presentation.
11
Bernstein, Stephen. "‘The great unhappiness of another’: Writers and readers in three stories by Alice Munro." Short Fiction in Theory & Practice 9, no. 1 (April 1, 2019): 17–26. http://dx.doi.org/10.1386/fict.9.1.17_1.
Full textAbstract:
Three Alice Munro stories – ‘Material’, ‘Family Furnishings’ and ‘Fiction’ – feature readers who react to fiction based on material from their own lives. ‘Fiction’ is alone in this group as the story in which the reader is pleased, rather than otherwise, with the story she reads. This different reaction is traced to important aspects of the reader’s characterization. Only in ‘Fiction’ is the reader unrelated to the internal story’s author and not also a writer herself. These traits make her a reader who consistently revises her ideas about the story she reads, as well as one who can be said to resolve a persistent conflict in this small set of stories.
12
Román San Miguel, Aránzazu, Rodrigo Elías Zambrano, and Marc Paredes Molina. "Realidad y ficción en el discurso informativo. Crímenes como inspiración para proyectos audiovisuales en España." Ámbitos. Revista Internacional de Comunicación, no. 51 (2021): 62–78. http://dx.doi.org/10.12795/ambitos.2021.i51.06.
Full textAbstract:
ASince its appearance, television has been nourished by the crime show to increase the audience. Currently, documentaries and fiction and non-fiction series inspired by real events have turned viewers into judge and part of those events. In Spain, the crime committed with girls from Alcàsser was a before and after in the use of this type of entertainment. From then on, numerous producers realized the value that real stories had on television and began to shape the genre on television.This work makes visible the audiovisual products to which crimes committed in Spain have taken place and are analysed to see if they use sensational elements. In addition, the different formats that can be adopted are revealed: documentary, reportage, docu-series, docudrama ...
13
Yang, Gladys. "Women Writers." China Quarterly 103 (September 1985): 510–17. http://dx.doi.org/10.1017/s0305741000030733.
Full textAbstract:
The number of Chinese women writers has increased considerably in the past few years. Some write poetry, essays, children's stories, reportage and television scripts. But since the majority write fiction, and they are the most influential, I will talk today about some middle-aged and younger women who have introduced new themes or written controversial work in recent years.
14
Torrego, Alba, Alfonso Gutiérrez-Martín, and Michael Hoechsmann. "The Fine Line between Person and Persona in the Spanish Reality Television Show La isla de las tentaciones: Audience Engagement on Instagram." Sustainability 13, no. 4 (February 6, 2021): 1753. http://dx.doi.org/10.3390/su13041753.
Full textAbstract:
The hybridization of television genres has led to numerous non-fiction television shows that base much of their success on audience engagement through social networks. This study analyses a specific case, that of La isla de las tentaciones (Temptation Island), to identify interpretive frames in reality shows and their interrelationships with audience involvement on Instagram. Based on a corpus of 8409 comments posted on Instagram by the followers of the program’s actor profiles, the article analyzes the lines between reality and fiction in this non-fiction television show about relationships and infidelity, and, in particular, how online “haters” play a performative role. The show’s participants who were unfaithful are insulted and receive numerous negative value judgments. The “coding and counting” method, drawn from Computer Mediated Discourse Analysis, is used for the coding. Results show that viewers barely allude to this show as fiction, do not differentiate between the actors and their characters, and empathize strongly with the stories they view. The study shows the need for media education, both for those who make the media and those who view it. The goal is not to detract from entertainment value, but to improve critical skills and to recover the educational function of media.
15
Guarneri, Cristina. "Realistic Fiction and Literature: The Influence of Believable Characters on Readers." Journal of English Language and Literature 10, no. 2 (October 31, 2018): 1008–13. http://dx.doi.org/10.17722/jell.v10i2.389.
Full textAbstract:
What we think and what we read has more influence on our political attitudes as adults. Much of our political information comes from literature. The amount of time the average person spends watching television becomes a dominant force to how we view the world. We see books such as Harry Potter and the Wizard of Oz tell a story that is brings a message on the political landscape of a nation, as Dorothy’s party returns after killing the Witch of the West, the Wizard keeps them waiting, then puts them off. Short stories and novels that make the reader feel that they are getting to know real people dealing with believable situations can be considered literature that is realistic fiction. This type of fiction has been found in the stories of fiction shows that the impact of characters has a direct influence on reader’s decision-making and world view. This is due to creating characters that are realistic to the people and situations found in society today.
16
Walker, Rebecca. "Consciousness-Raising in a Child Abuse Flame War over Fan Fiction." Media International Australia 144, no. 1 (August 2012): 19–26. http://dx.doi.org/10.1177/1329878x1214400105.
Full textAbstract:
A flame war over depictions of child abuse in a fan fiction competition based on The L Word television series (Showtime, 2004–09) provided an opportunity for feminists and others to deliberate over the issue of child abuse. Various tactics were used, including storytelling and the narration of intimate and personal stories of abuse, as well as more confrontational and personally derisive tactics. The flame war revealed taken-for-granted assumptions in a forum based on a lesbian-centred series.
17
Steenberg, Lindsay. "The Fall and Television Noir." Television & New Media 18, no. 1 (September 19, 2016): 58–75. http://dx.doi.org/10.1177/1527476416664185.
Full textAbstract:
This article analyzes the Belfast-set BBC series The Fall (2013–) as an illustrative example of television noir. It aims to use noir scholarship to investigate The Fall’s complex gender politics and genre position, and, more significantly, to use The Fall to illuminate the complex ways in which noir currently operates across Anglo-American television and culture. The Fall is self-conscious, if not self-reflexive, in its mobilization of noir to aspire to the cinematic. This article argues that the series, and others like it, use noir as a legitimation strategy, often to excuse prurient stories of sexualized violence. The act of labeling something noir, particularly a visual fiction, is a way of insisting on its status as art. I conclude that the system of noir (and its associations with art and authenticity) is unable to contain the excesses of the serial killer mythology and Gothic inflection of its postfeminist investigator.
18
Manià, Kirby. "“Translated from the dead”: The legibility of violence in Ivan Vladislavić’s101 Detectives." Journal of Commonwealth Literature 55, no. 1 (August 2, 2018): 61–76. http://dx.doi.org/10.1177/0021989418787334.
Full textAbstract:
In light of the contemporary popularity of crime fiction, true crime, and crime television, avid consumers of these kinds of narratives like to think of themselves as amateur detectives — schooled in the discourse of observation and deduction. Readers of crime fiction become accustomed to a kind of formula, comforted in the knowledge that the mystery will be resolved and the perpetrator apprehended. However, this article investigates how a number of stories in Ivan Vladislavić’s 101 Detectives challenge the conventions of legibility in representing crime in post-apartheid South Africa. The mediations of language, reading, and writing as modes of detection are shown in these short stories to come up short. Instead, and through the stylistic and formalistic frame provided by the anti-detective genre, acts of detection are defeated, closure is deferred, and order is not restored. Writing crime and violence reveals a matrix of structural violences in the postcolony, experiences that cannot be “translated from the dead”. The article argues that while violence and crime are not unrepresentable per se, the degree to which they can be “managed” or “contained” by language or fiction is limited.
19
Scott, David K., and Robert H. Gobetz. "Hard News/Soft News Content of the National Broadcast Networks, 1972–1987." Journalism Quarterly 69, no. 2 (June 1992): 406–12. http://dx.doi.org/10.1177/107769909206900214.
Full textAbstract:
In recent years there has been a slight tendency for television network news programs to increase the amount of soft news presented mostly during the last one-third of the newscast. Content analysis of the Vanderbilt Television News Abstracts from 1972 through 1987 shows that, although all networks did increase the amount of soft news, this type news remained a small part of the newscast. Soft news is defined as stories that focus on a human interest topic, feature or nonpolicy issue.
20
Smith, Paul Julian. "Behind the money: Alejandro González Iñárritu as career director." Studies in Spanish & Latin American Cinemas 18, no. 1 (March 1, 2021): 9–18. http://dx.doi.org/10.1386/slac_00033_1.
Full textAbstract:
This article is presented in two halves. The first analyses little known interviews with Iñárritu before he made his career in feature films that document his practice in radio, advertising and television drama. These interviews focus on his early conception of the relation between art and commerce and his views on the Mexican media scene in the 1990s. The second half of the article analyses the rare primary materials themselves: radio commercials, television idents and, at much greater length, his first feature-length fiction film, an experimental drama made for Televisa in 1995 called Detrás del dinero/Behind the Money. The conclusion argues that even as Iñárritu has more recently distanced himself from broadcasting, his later career as an artistic and commercially successful feature film director embodies a precarious balance between artistic innovation and mass culture and a focus on the audience which he first learned in his early work in advertising, radio and television.
21
Messina, Simona. "Between the real and the unreal." Lingvisticæ Investigationes. International Journal of Linguistics and Language Resources 30, no. 2 (December 31, 2007): 261–90. http://dx.doi.org/10.1075/li.30.2.06mes.
Full textAbstract:
In this paper I present a work in progress concerning the mimesis of Italian speech, which is possible to study not only into the two traditional forms of language — written and spoken — but also in broadcast language of tv series. In order to find examples of mimesis of spoken language which are as close as possible to the contemporary linguistic reality, I have excluded all specialised TV programmes which cater for specific contents and sectorial registers and I concentrate on television stories of TV fiction. Tv fiction can be divided up into various narrative formulae and, depending on the subject matter, in different macrocategories. I have focused my study on a particular kind of fiction based on realistic serial format: family fiction, which narrates the daily life of a family or group of families whose stories become entwined in a succession of petty or major events where the language must necessarily draw on colloquial Italian. The corpus analysed in this first phase of the research project was taken from two series: La famiglia Benvenuti (1968) and Un medico in famiglia (1998). I have selected a shortlist of phenomena which best match up to the characteristics of spontaneous speech, grouped in four areas of analysis: 1: Register and lexical–grammatical phenomena; 2: Linguistic commonplaces; 3: The polyvalent ‘che’; 4: Mechanisms of segmentation and focalisation.
22
Mussies, Martine. "“Dashing and daring, courageous and caring”: Neomedievalism as a Marker of Anthropomorphism in the Parent Fan Fiction Inspired by Disney’s Adventures of the Gummi Bears." Dzieciństwo. Literatura i Kultura 3, no. 2 (December 31, 2021): 60–83. http://dx.doi.org/10.32798/dlk.625.
Full textAbstract:
As is already visible in its opening credits, the television series Disney’s Adventures of the Gummi Bears (1985–1991) uses neomedievalism to confirm the anthropomorphism of the titular characters. More than 35 years after this series’ first episode aired, this phenomenon is still easily traceable in the parent fan fiction, online stories about the Gummi Bears, written for children by adults. This paper addresses two seemingly overlooked fields: The Gummi Bears series and the fan fiction it inspired. It shows that this anthropomorphic perception adds new perspectives on human relations with the natural environment and on the treatment of animals, and thus contributes to building the awareness of ecological and animal rights in societies, especially when it comes to future generations.
23
Crew, David F. "Sleeping with the Enemy? A Fiction Film for German Television about the Bombing of Dresden." Central European History 40, no. 1 (February 27, 2007): 117–32. http://dx.doi.org/10.1017/s0008938907000301.
Full textAbstract:
Dealing with the Nazi past has become a permanent component (some would say obsession) of contemporary German national identity. Almost every day, the German print and visual media carry stories related to Hitler, World War II, and the Holocaust. Each new major anniversary sets in motion another round of discussion, argument, and controversy. Each new autobiography and each new film on Nazism generates extensive media commentary. Among the most interesting aspects of recent discussions of the Nazi past is the new prominence afforded to depictions of Germans as victims of “Hitler's War.” Nowhere has this predilection for presenting Germans as victims been more apparent and pronounced than in the flood of recent popular books and made-for-TV documentaries about the bombing war.
24
Dickason, Renée. "Capturing the ‘Real’ in British Television Fiction: Experiments in/of Realism— An Abiding and Evolving Notion." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 3 (May 1, 2011): 82. http://dx.doi.org/10.12681/syn.16922.
Full textAbstract:
The realistic mode of depiction has been an abiding feature of British television fictions intended for British audiences ever since the rebirth of the medium after the Second World War. After briefly evoking the origins of realism in British audio-visual media and some of the reasons for its continued popularity with both viewers and broadcasters, this article examines how the constant challenge of “putting ‘reality’ together” (Schlesinger) has been met by innovation and experiment in differing social, political, and economic climates since the mid-1950s and how the perception of television realism itself has evolved. In the context of reality television and today’s post-modern hybrids which blur the distinctions between fact and fiction, entertainment and information, this article concludes with a reflection on whether British television’s (re)creation of reality is an end in itself or whether it is a means of achieving other objectives.
25
Del Gobbo, Daniel. "Unreliable Narration in Law and Fiction." Canadian Journal of Law & Jurisprudence 30, no. 2 (August 2017): 311–38. http://dx.doi.org/10.1017/cjlj.2017.15.
Full textAbstract:
This article revisits long-standing debates about objective interpretation in the common law system by focusing on a crime novel by Agatha Christie and judicial opinion by the Ontario High Court. Conventions of the crime fiction and judicial opinion genres inform readers’ assumption that the two texts are objectively interpretable. This article challenges this assumption by demonstrating that unreliable narration is often, if not always, a feature of written communication. Judges, like crime fiction writers, are storytellers. While these authors might intend for their stories to be read in certain ways, the potential for interpretive disconnect between unreliable narrators and readers means there can be no essential quality that marks a literary or legal text’s meaning as objective. Taken to heart, this demands that judges try to narrate their decisions more reliably so that readers are able to interpret the texts correctly when it matters most.
26
Woodward, Kathleen. "A public secret: assisted living, caregivers, globalization." International Journal of Ageing and Later Life 7, no. 2 (April 12, 2013): 17–51. http://dx.doi.org/10.3384/ijal.1652-8670.1272a2.
Full textAbstract:
Frail elderly and their caregivers are virtually invisible in representational circuits (film, the novel, photography, television, the web, newspapers), with the elderly habitually dismissed as non-citizens and their caregivers often literally not citizens of the nation-states in which they work. How can we bring what is a scandalous public secret of everyday life into visibility as care of the elderly increasingly becomes a matter of the global market in our neoliberal economies? This essay explores the representation of caregivers and elders, together, in photographs, the memoir, news and feature stories, and documentary film, suggesting that one of the most effective modes of advocating for changes in public policy is engaging people’s understanding through stories and images. In this study, I consider stories of assisted living, which involve elders, who are white, and paid caregivers, who are people of color, gendered female, and part of global care chains; these stories include American writer Ted Conover’s New York Times Magazine feature story ’’The Last Best Friends Money Can Buy’’ (1997) and Israeli Tomer Heymann’s documentary film ’’Paper Dolls’’ (2006). Of key importance is a feeling of kinship as new forms of the family take shape.
27
Tarmawan, Irwan, and Rima Nur Amalina. "CINEMATIC POINT OF VIEW OF "PRIDE AND PREJUDICE" FILM ON 1995 TELEVISION SERIAL FILM AND 2005 MOVIE THEATER." VISUALITA 7, no. 2 (February 28, 2019): 23–29. http://dx.doi.org/10.33375/vslt.v7i2.1454.
Full textAbstract:
Film is communication and entertainment media comprising artistic and aesthetic elements. The source of stories in the film can be inspired by various sources, one of them is novel. Pride and Prejudice is one of Jane Austen’s works in which its stories have been adapted in various artworks, such as film. Popular adaptation of Pride and Prejudice with similar title is the feature length film version published in 2005 and tv serial published in 1995. Film has two main elements of film making, namely: narrative and cinematic elements. Both elements related to each other for create cinematic point of view and aesthetic film.
28
Tan, Melody Shi Ai, Ephrance Abu Ujum, and Kuru Ratnavelu. "Social network analysis of character interaction in the Stargate and Star Trek television series." International Journal of Modern Physics C 28, no. 02 (February 2017): 1750017. http://dx.doi.org/10.1142/s0129183117500176.
Full textAbstract:
This paper undertakes a social network analysis of two science fiction television series, Stargate and Star Trek. Television series convey stories in the form of character interaction, which can be represented as “character networks”. We connect each pair of characters that exchanged spoken dialogue in any given scene demarcated in the television series transcripts. These networks are then used to characterize the overall structure and topology of each series. We find that the character networks of both series have similar structure and topology to that found in previous work on mythological and fictional networks. The character networks exhibit the small-world effects but found no significant support for power-law. Since the progression of an episode depends to a large extent on the interaction between each of its characters, the underlying network structure tells us something about the complexity of that episode’s storyline. We assessed the complexity using techniques from spectral graph theory. We found that the episode networks are structured either as (1) closed networks, (2) those containing bottlenecks that connect otherwise disconnected clusters or (3) a mixture of both.
29
Harvey, Kyle. "Casting, diversity and fluid identities in Australian television." Media International Australia 174, no. 1 (October 24, 2019): 86–96. http://dx.doi.org/10.1177/1329878x19882528.
Full textAbstract:
This article examines the practice and function of casting in the Australian television industry from the 1960s to the 1990s. It investigates the role of ethnicity and accents and the practice of casting actors of migrant backgrounds in Australian drama, variety and comedy. In an industry so often dominated by Anglo-Australian stories, faces and voices, the increasing presence of actors from non-English-speaking backgrounds and non-European ethnicities has been a key feature of the changing nature of Australian television production. By analysing ‘Showcast’ casting directories, supplemented with oral history interviews, this article suggests that actors have tended to adopt fluid or hybrid identities to navigate the casting process and find steady work in the television industry. The manipulation of identity, I argue, sits at the nexus of overlapping cultural spheres amid the challenging operation of multiculturalism in Australian media.
30
McElroy, Ruth. "Post-imperial Drama: History, Memory and Narrative in Peter Kosminsky'sThe Promise." Journal of British Cinema and Television 10, no. 2 (April 2013): 276–97. http://dx.doi.org/10.3366/jbctv.2013.0135.
Full textAbstract:
Historical television drama enjoys a privileged place in the mediation of collective, national memory as it imaginatively transports viewers from their living rooms to the time/place of earlier events. It may contest existing narratives of the nation and challenge viewers to re-think the stories told of how we arrived at the current moment. This article addresses these questions of memory and national histories through analysis of Peter Kosminsky's four-part series, The Promise (Channel 4, 2011). It tells the ‘untold’ story of the British in postwar Palestine. It comprises two parallel stories of Len Matthews, a paratrooper deployed in 1945 to Palestine, and his granddaughter, Erin, who, in the present, visits Israel whilst reading Len's diary. Through these characters, the complex, conflictual histories of the British in Palestine and the aftermath of imperial powers in the region are dramatically played out. This article approaches The Promise as post-imperial drama, that is, as a fiction based on the contested, half-forgotten, sometimes denied facts of British imperialism, and one which seeks to intervene in such post-imperial amnesia. In doing so, the article contributes to debates around British national identities and the imaginative representation of history on British television.
31
Bellardi, Marco. "The cinematic mode in fiction." Frontiers of Narrative Studies 4, s1 (November 22, 2018): s24—s47. http://dx.doi.org/10.1515/fns-2018-0031.
Full textAbstract:
AbstractThis article focuses on the imitation of film form in cinematic novels and short stories on the level of narrative discourse and introduces the concept of ‘para-cinematic narrator’. The author compares the temporality expressed by verbal tenses in literature and the temporality expressed through film semiosis. The connection between film and literary fiction is explored in terms of foreground and background narrative style. It is argued that the articulation of narrative foreground and background – i. e. the “narrative relief” (Weinrich 1971) – in film form tends to favour the foreground style, and that such narrative relief is ‘flattened’ due to the “monstrative” quality (Gaudreault 2009) of the medium. This flattening is remediated in strongly cinematised fiction and conveyed through the use of verbal tenses. The imitation of montage and specific cinematic techniques is conceived, consequently, as a separate feature that can integrate into this remediated, para-cinematic temporality. Finally, the author recalls the concept of “mode” in genre theory (Fowler 2002), which describes a “distillation” of traits from one genre to another. With the category of cinematic mode the remediation of basic traits from film to literary fiction can be framed in terms of genre-related discourses.
32
Grabe, Maria Elizabeth. "Tabloid and Traditional Television News Magazine Crime Stories: Crime Lessons and Reaffirmation of Social Class Distinctions." Journalism & Mass Communication Quarterly 73, no. 4 (December 1996): 926–46. http://dx.doi.org/10.1177/107769909607300412.
Full textAbstract:
In recent times, critics have charged that tabloid news emphasizes and sensationalizes criminal behavior - thereby violating the journalistic ideal of providing objective information to the citizens of a democratic society. Yet, these claims have not been subjected to systematic investigation. This study compares tabloid and traditional broadcast news magazine programs in terms of their emphasis on crime and the content of their crime narratives. Results indicate that tabloid shows are more likely than traditional shows to feature crime stories. Both types of programs give crime stories similar prominence, and the content is relatively similar. However, tabloid shows are more likely than traditional shows to present the criminal as belonging to the middle or upper class. By contrast, traditional shows are more likely to present the criminal as belonging to the working class.
33
Yeates, Robert. "Serial fiction podcasting and participatory culture: Fan influence and representation in The Adventure Zone." European Journal of Cultural Studies 23, no. 2 (August 29, 2018): 223–43. http://dx.doi.org/10.1177/1367549418786420.
Full textAbstract:
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 conventions of established media such as radio and television. Despite the recent surge in the popularity of podcasts, little scholarly attention has been given to the format, except to discuss it as either a continuation of radio programming or part of a transmedia landscape for texts which are centred in media such as television and film. This article argues that fiction podcasting offers unique affordances for creating serial works of fiction, taking The Adventure Zone as a case study which demonstrates the power of successful participatory culture. The podcast has grown from modest beginnings to acquire a considerable and passionate fan network, has diversified into other media forms, and, though available for free, is financially supporting its creators and raising substantial amounts of money for charities. Crucial in its success is the creators’ cultivation of an inclusive environment for fans, and a constant attempt to feature characters representative of a diversity of gender and sexual identities, particularly those typically excluded from other science fiction worlds. This article argues that The Adventure Zone and the format of fiction podcasting demonstrate a shift in contemporary culture, away from established mass media programming and towards a participatory, transmedia, fan-focused form of storytelling which utilizes the unique advantages of new media technologies in its creation, development, and distribution.
34
Chalvon-Demersay, Sabine. "“Des personnages de si près tenus”, TV Fiction and Moral Consensus." Qualitative Sociology Review 3, no. 3 (December 30, 2007): 6–21. http://dx.doi.org/10.18778/1733-8077.3.3.02.
Full textAbstract:
How can we understand the adaptations of literary classics made for French television? We simultaneously analyzed the works and the context in which they were produced in order to relate the moral configurations that emerge in the stories to activities carried out by identifiable members of the production team, in specific, empirically observable circumstances. This empirical approach to the constitution of the moral panorama in which characters evolve rejects the idea of the pure autonomy of ideological contents, suggesting instead a study of the way normative demands and professional ethics are combined in practice, thus combining a sociology of characters and a sociology of professionals and showing how professional priorities influence production choices. This detaches the moral question from the philosophical horizon it is associated with in order to make it an object of empirial study. Adopting this perspective produces unexpected findings. Observation shows that the moral landscape in which characters are located is neither stable, autonomous, transparent, or consensual. It is instead caught up in material logics, constrained by temporal dynamics, and dependent on professional coordination. It is traversed by tensions between professional logics, and logics of regulation.
35
YEMETS, O., and A. ZAKHARCHUK. "THE IMPORTANCE OF ARTICSIC DETAIL AS A FACTOR OF PROSE POETICALNESS IN THE SGORT STORIES OF THE CONTEMPORARY AMERICAN AND CANADIAN WRITERS." Philological Studies, no. 33 (April 19, 2021): 20–24. http://dx.doi.org/10.33989/2524-2490.2020.33.228197.
Full textAbstract:
The article considers the role and functions of artistic detail in the contemporary short stories. The investigation involved the flash fiction stories by the American writers written after the year 2020 and several short stories by the outstanding Canadian writer Alice Munro. The aim of the research is determining the major devices of prose poeticalness in these texts and revealing the role of artistic detail in creating poeticalness.Prose poeticalness is defined as such property of a prose text which involves the priority of poetic function and envisages the introduction of poetical features into prose – stylistic convergence, phonetical repetitions, parallelism, rhythm. Stylistic convergence can be considered the most foregrounded device of poeticalness as it involves the accumulation of different stylistic devices which add expressiveness to each other (M.Riffaterre). Our investigation shows that convergences function in strong positions of texts- the initial or final text fragments. Artistic detail is the object or some feature of the object which acquires special importance in the literary text (V.A.Kukharenko). Artistic detail is usually associated with metonymy or synecdoche, but unlike these tropes, it embraces the whole text. In the flash fiction stories and the short stories by A.Munro the major artistic details are objects like a coin (L.Wilson), a brooch (A.Munro), a glove (D.Shea) or a feature of appearance like a bruise (S.Dybek). These details characterize people’s behavior, their dreams and aspirations. Therefore, they symbolize love, friendship, sympathy and give polysemantic character to the narration. Another result of our investigation is determining the metaphoric detail (G.Paley) in the description of the woman, the mother of the defendant. Thus, the emotional effect of the artistic detail is realized in the metaphoric similes comparing the woman to the faded flower. These artistic details in combination with stylistic convergence create the impression of the texts as modern parables. The theoretical novelty of our research lies in the analysis of artistic details from the viewpoint of poeticalnees as well as in revealing the significance of emotional effect for prose poeticalness.The prospects of further research lie in the investigation of poeticalness in other genres of modern prose.
36
Kiryushina, Galina. "“this little people of searchers”." Samuel Beckett Today / Aujourd’hui 32, no. 1 (April 17, 2020): 25–40. http://dx.doi.org/10.1163/18757405-03201003.
Full textAbstract:
Abstract This essay revisits Samuel Beckett’s prose text The Lost Ones by situating it within the broader contexts of anthropology and documentary cinema. The period of its composition (1965–1970) coincides with Beckett’s concentrated work for, and direct involvement in, film and television, an experience that was also reflected in his drama and prose fiction. Reading the text’s narrative voice as adopting the technique of extradiegetic voice-over—the ‘voice of God,’ a common feature of classical documentaries—the essay explores Beckett’s critique of such a representational strategy.
37
Elrashid Ali, Mohammed Adam. "Cycle “Travel from Russia” of A. Bitov as an artistic whole (structure and poetics)." RUDN Journal of Studies in Literature and Journalism 24, no. 1 (December 15, 2019): 65–72. http://dx.doi.org/10.22363/2312-9220-2019-24-1-65-72.
Full textAbstract:
The article attempts to consider the book by A. Bitov “Travel from Russia” as a fictional purpose and the “journey” feature as a genre of fiction. At the same time, the features of similarities and differences, the “creative evolution” in the writer’s stories, which reflect the author’s reflection on the spaces of the former Soviet Empire and its social connections, are considered. Constant study of the cultures of other nations helps the writer to create an overall artistic picture. As a result, the journey becomes for A. Bitov the process of existence (ontological principle).
38
McNally, Karen. "Nixon, Trump and Washington Behind Closed Doors: Fictionalizing Watergate and the prescience of the historical miniseries." European Journal of American Culture 41, no. 2 (June 1, 2022): 127–46. http://dx.doi.org/10.1386/ejac_00068_1.
Full textAbstract:
The development of the miniseries as a TV genre during the 1970s became central to American television’s dramatization of the nation’s history through stories that combined fact and fiction to relate the past to contemporary US culture. Rarely considered, however, is the ways in which increasing slippages between the screen and real-world events might work to presage the culture and politics of the future, illuminating historical connections that move beyond a television drama’s moment of production. This article explores the 1977 ABC miniseries Washington Behind Closed Doors, an adaptation of John Ehrlichman’s novel The Company and its fictional tale of a Nixon-like president, drawing on the author’s experiences as part of the Nixon administration. Emerging in the contexts of the historical miniseries and various screen depictions of Watergate, the show became part of a blurring of the boundaries between fiction and non-fiction in the re-telling of Richard Nixon’s doomed tenure as president. At the same time, the article contends, the explicit fictionalization of the nation’s recent political history in Washington Behind Closed Doors provides a space in which to read the show as a prescient imagining of the United States’ political future later realized in the presidency of Donald Trump.
39
Xin, Zhaokun. "The Death of His Husband." Prism 18, no. 1 (March 1, 2021): 9–26. http://dx.doi.org/10.1215/25783491-8922177.
Full textAbstract:
Abstract Li Yu's two huaben stories, “A Male Mencius's Mother Raises Her Son Properly by Moving House Three Times” and “House of Gathered Refinements,” stand out from the writer's brief yet highly novel dabbling in the genre thanks to their similar concern with male same-sex desire. But rarely have the two stories been examined in tandem. Furthermore, both stories feature a shared character of a dead penetrator, which is scarcely seen in homoerotic fiction of early modern China. This article first probes factors contributing to such casualties and singles out the contestation between the monopolizing penetrators and the homoerotic public over the penetrated. It further argues that the penetrators' fatal failure in the struggle with the desiring public for the penetrated evidences consistent disapprobation of self-interested monopolization in both stories. Nonetheless, the male homoerotic public similarly suffers from frustration, being unable to keep the objects of desire due to the penetrated characters' efforts to escape from the homoerotic economy. Only successful via the mediation of state power, such eschewal in turn reveals that the homoerotic public is both vulnerable to the monopolizer's external threats and prone to collapse into possessive claims to the penetrated.
40
Wessing, Robert. "Dislodged tales: Javanese goddesses and spirits on the silver screen." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 163, no. 4 (2008): 529–55. http://dx.doi.org/10.1163/22134379-90003694.
Full textAbstract:
Indonesian films and television shows often feature popularly though only superficially known figures from Javanese mythology, including the Goddess of the Southern Ocean Nyai Roro Kidul and her counterpart the Queen of the Snakes Nyi Blorong. In this study I examine the effects of placing the stories about these entities in ‘media space’ (Sen and Hill 2000:199), thus removing them from the local context that in the past infused them with its truth, and making possible their apposition to other truths and values that were previously unconnected to them, and may or may not be congenial with them.
41
CHENG, WILLIAM. "Staging Overcoming: Narratives of Disability and Meritocracy in Reality Singing Competitions." Journal of the Society for American Music 11, no. 2 (May 2017): 184–214. http://dx.doi.org/10.1017/s1752196317000062.
Full textAbstract:
AbstractWith the American Dream seizing center stage, reality television competitions often feature disabled auditionees and their moving tales of overcoming adversity. Musical—and frequently singing—abilities potentially normalize and envoice contestants while silencing vital conversations about the exploitation, stigmatization, and corporate politics at work in these seductive narratives. How do chronicles of overcoming overcome consumers? And how might inspiration porn about disability disable beholders’ emotional, intellectual, and rhetorical faculties? As fans and scholars resist or succumb to the tearfulness induced by sentimental stories, they must chart tricky routes through the heady skepticism of Scylla and the naïve waterworks of Charybdis.
42
Blades, Peter. "Encyclopedia of Weird War Stories: Supernatural and Science Fiction Elements in Novels, Pulps, Comics, Film, Television, Games and Other Media." Reference Reviews 32, no. 2 (February 19, 2018): 13–14. http://dx.doi.org/10.1108/rr-10-2017-0210.
Full text
43
YOUSAF, NAHEM. "Regeneration through Genre: Romancing Katrina in Crime Fiction from Tubby Meets Katrina to K-Ville." Journal of American Studies 44, no. 3 (August 2010): 553–71. http://dx.doi.org/10.1017/s0021875810001234.
Full textAbstract:
This essay examines detective fiction that takes New Orleans and Hurricane Katrina as setting and theme. It explores the ways in which stories told in novels and prime-time TV shows across the interlocking genres of police procedural and crime thriller have steered a sensationalist course through the recovery of the city over the last five years. It considers the role and representation of the New Orleans Police Department in particular, and of law enforcement officials more broadly, as post-Katrina protagonists who protect and serve the city, a rejoinder to media-made myths according to which they deserted their posts in the days after the storm. It closes with a case study of FOX TV's K-Ville, the first television series to depict New Orleans post-Katrina in a sustained way, and investigates the extent to which it was judged harshly for translating the disaster into a formulaic cop show. Deep-seated assumptions about genre, narrative form, the burden of representation and popular ideas about this particular locale inform the reception of these genre fictions.
44
Wärnlöf, Christofer. "The ‘Discovery’ of the Himba: The Politics of Ethnographic Film Making." Africa 70, no. 2 (May 2000): 175–91. http://dx.doi.org/10.3366/afr.2000.70.2.175.
Full textAbstract:
AbstractThis article is concerned with the way an African ethnic group is represented in the medium of television. It is argued, first, that, in the broad spectrum of programmes, ethnographic films will never be in the top rank. Nevertheless, as part of a general range appealing to an intellectual and academic audience, ethnographic films will be competing in this market. One solution is to let ethnographic films become more attractive through a closer resemblance to fictional films. But it creates a dilemma for an ethnographic film screened on television, as it must legitimise its position by differentiating itself from fiction through establishing a certain realism while at the same time employing fictional devices to dramatise ethnographic ‘stories’. This leads to distorted and sometimes racist undertones. The second issue concerns the ambitions of the film team. Their temporary role in the locality becomes political when, as inevitably happens, they favour, and are favoured by, one section of the local community in order to fulfil their mission of producing an ethnographic film. A split in the community is caused by such external forces and justified by the fact that we are all ‘living in a global village’.
45
Bohata, Kirsti. "MISTRESS AND MAID: HOMOEROTICISM, CROSS-CLASS DESIRE, AND DISGUISE IN NINETEENTH-CENTURY FICTION." Victorian Literature and Culture 45, no. 2 (May 5, 2017): 341–59. http://dx.doi.org/10.1017/s1060150316000644.
Full textAbstract:
The relationship between mistress and maid is curiously intimate yet bounded by class. Employers and their servants are caught in a dynamic of dominance and submission, in which they practice mutual surveillance. Yet the relationship may also evoke models of loyalty, devotion, and the possibility, in fiction at least, of female alliance. On the comparatively rare occasions that servants feature at all in Victorian fiction, these dynamics lend a homoerotic dimension to the cross-class relationship between mistress and maid. The positions of mistress and maid bring two women together under the same roof while separating them by class, thus providing a framework for a fictional exploration for yearning, desire, unrequited love, or sometimes union. Alternatively, a queer relationship may be obscured by the guise of employer and servant. Indeed, the mistress-maid stories discussed here often involve masquerade in some form, including cross-class and cross-gender disguises.
46
Nosenko, Tamara. "Corneliu Irod – Ukrainian Writer from Romania (Creative Work Overview)." Слово і Час, no. 10 (October 16, 2019): 90–100. http://dx.doi.org/10.33608/0236-1477.2019.10.90-100.
Full textAbstract:
The essay surveys the works written by C. Irod, one of the leading contemporary Ukrainian writers of Romania. The main attention is paid to his trilogy of novels “The Feast” and stories that vary in thematic features and stylistics, some of them belonging to a particular type of short prose works – allegoric pieces called “blunder stories”. Considering main themes and ideas of C. Irod’s works and focusing on peculiarities of their literary interpretation, the researcher intends to represent the originality of the writer’s prose heritage, to determine his role in developing the genre of the modern novel and renovating flash fiction in Ukrainian literature of Romania. To achieve this aim, the researcher adds a comparative aspect and refers to the major development patterns of the world novel of the 1960s–1980s, in particular, focusing on such a remarkable feature as ‘new epics’. The themes and issues of the works by C. Irod have been compared to those in the works by Romanian writers, in particular D. R. Popescu. It is noted that C. Irode’s stories have the inherent connection with the flash fiction of the Ukrainian masters – H. Tiutiunnyk and Ye. Hutsalo. The essay follows correspondences in themes and literary technique that relate the Romanian writer to the mentioned Ukrainian authors. The essay also informs about C. Irod’s achievements in the Цeld of literary translation. In particular, he worked over translation of T. Shevchenko’s “Diary”, as well as the book “Taras Shevchenko’s life” by P. Zaitsev. The researcher also gives some details concerning C. Irod’s translations of the tales “When the animals could talk” and “Mykyta the Fox” by I. Franko, the stories written by H. Tiutiunnyk and some pieces in poetry and prose by junior Ukrainian authors.
47
Marshall, Andrea. "Our stories, our selves: Star Wars fanfictions as feminist counterpublic discourses in digital imaginaria." Journal of Fandom Studies 8, no. 3 (September 1, 2020): 277–88. http://dx.doi.org/10.1386/jfs_00024_1.
Full textAbstract:
Fanfiction has a long and varied history in the Star Wars franchise since it began in 1977 with the debut of the first film, Star Wars Episode IV: A New Hope. The decade of the 1970s created new possibilities for science fiction multiverses and metanarratives; science fiction became an adaptive film genre that could be reimagined with seemingly infinite narrational results. The myriad of genre films that were released in the mid-to-late 1970s revealed dynamic syntheses with horror (e.g. Alien, Invasion of the Body Snatchers and Close Encounters of the Third Kind), franchises that previously had existed solely on television (Star Trek: The Motion Picture) and musical theatre (The Rocky Horror Picture Show). Cinematic audiences became increasingly accustomed to science fiction tropes and themes in film; audience participation in the theatre (e.g. The Rocky Horror Picture Show) expanded to print zines (often with fanfiction) for multiple franchises as well as fan conventions. Fanfiction’s beginnings as an analogue culture dramatically changed with the advent of the internet and the evolution of fandoms as digital cultures. Web-based platforms such as FanFiction.net and Archive of Our Own (AO3) host sundry fan communities’ creative outputs including podcasts, art and, most frequently, fanfiction stories. The release of Star Wars: The Force Awakens in 2015 immediately captured the fandom’s imagination; the animosity and tension between the new villain Kylo Ren (Ben Solo) and protagonist Rey of Jakku particularly fascinated the young adult fans who were lately converted to the Star Wars fandom due to this pairing (known as Reylo within the fandom and within cinematic circles). The newest generations of fans were acclimated to audience participation and paratextual interactions due to their positions as digital natives. The Reylo fan phenomenon particularly erupted into fanfictions as critical data artefacts, even predicting Reylo as a romantic pairing years before the second and third films in the franchise trilogy Star Wars: The Last Jedi and Star Wars: The Rise of Skywalker. The Reylo pairing is just one example of how online Star Wars fanfiction communities expand audience participation to autonomous collective identity formation. This article examines feminist fanfictions in the Star Wars fandom as gendered critical data artefacts, as collaborative communities of practice, and as counterpublic discourses that apply feminist critiques to conventional gender roles within the most recent film trilogy and the fandom itself.
48
Smith, Michelle J. "Imagining Colonial Environments: Fire in Australian Children's Literature, 1841–1910." International Research in Children's Literature 13, no. 1 (July 2020): 1–14. http://dx.doi.org/10.3366/ircl.2020.0324.
Full textAbstract:
This article examines children's novels and short stories published in the late nineteenth and early twentieth centuries that feature bushfires and the ceremonial fires associated with Indigenous Australians. It suggests that British children's novels emphasise the horror of bushfires and the human struggle involved in conquering them. In contrast, Australian-authored children's fictions represent less anthropocentric understandings of the environment. New attitudes toward the environment are made manifest in Australian women's fiction including J. M. Whitfield's ‘The Spirit of the Bushfire’ (1898), Ethel Pedley's Dot and the Kangaroo (1899), Olga D. A. Ernst's ‘The Fire Elves’ (1904), and Amy Eleanor Mack's ‘The Gallant Gum Trees’ (1910). Finally, the article proposes that adult male conquest and control of the environment evident in British fiction is transferred to a child protagonist in Mary Grant Bruce's A Little Bush Maid (1910), dispensing with the long-standing association between the Australian bush and threats to children.
49
Cardoso, André Cabral de Almeida. "Precarious humanity: the double in dystopian science fiction." Gragoatá 23, no. 47 (December 29, 2018): 888–909. http://dx.doi.org/10.22409/gragoata.v23i47.33608.
Full textAbstract:
The double is a common feature in fantastic fiction, and it plays a prominent part in the Gothic revival of the late nineteenth century. It questions the notion of a coherent identity by proposing the idea of a fragmented self that is at the same time familiar and frighteningly other. On the other hand, the double is also a way of representing the tensions of life in large urban centers. Although it is more usually associated with the fantastic, the motif of the double has spread to other fictional genres, including science fiction, a genre also concerned with the investigation of identity and the nature of the human. The aim of this article is to discuss the representation of the double in contemporary science fiction, more particularly in its dystopian mode, where the issue of identity acquires a special relevance, since dystopias focus on the troubled relation between individual and society. Works such as Greg Egan’s short story “Learning to Be Me”; White Christmas, an episode from the television series Black Mirror; Kazuo Ishiguro’s novel Never Let Me Go; and the film Moon, directed by Duncan Jones, will be briefly examined in order to trace the ways the figure of the double has been rearticulated in dystopian science fiction as a means to address new concerns about personal identity and the position of the individual in society.---Original in English.
50
Wielgus, Alison. "“The Harder I Swim, the Faster I Sink”." Camera Obscura: Feminism, Culture, and Media Studies 34, no. 2 (September 1, 2019): 71–101. http://dx.doi.org/10.1215/02705346-7584916.
Full textAbstract:
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 victimized women by intervening in the global circulation of women’s bodies on television. By drawing on Zoë Sofia’s work on female bodies and container technologies, this essay argues that Campion’s use of pregnant victims and her exploration of a female detective’s history as a survivor of sexual assault allow her to interrogate the typical treatment of female corpses within crime television. Through circuitous investigations that leave enough narrative space for detours like the settling of Paradise, where women transform shipping containers into domestic spaces for struggling women, Campion provides a countermodel to crime television focused on forensic progress through a case. Campion similarly takes the container of serialized crime drama that circulates the globe in a post-network television landscape and creates space for women’s stories from the Antipodes. Pausing the narrative to indict the treatment of female victims, Campion also unearths the melodramatic underpinnings of serialized crime dramas that resonate with her own filmography.