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This book brings the emergent interest in social class and inequality to the field of television studies. It reveals how the new visibility of class matters in serial television functions aesthetically and examines the cultural class politics articulated in these programmes. This ground-breaking volume argues that reality and quality TV’s intricate politics of class entices viewers not only to grapple with previously invisible socio-economic realities but also to reconsider their class alignment. The stereotypical ways of framing class are now supplemented by those dedicated to exposing the economic and socio-psychological burdens of the (lower) middle class. The case studies in this book demonstrate how sophisticated narrative techniques coincide with equally complex ways of exposing class divisions in contemporary American life and how the examined shows disrupt the hegemonic order of class. The volume therefore also invites a rethinking of conventional models of social stratification.
Focuses on television fictions as short forms rather than expansive narratives, and how this relates to their seriality 12 case studies focusing on the short form in television fiction Covers a wide array of television, be it network, cable, or streaming, from several different national origins Focuses not just on fiction, but on relatively unstudied aspects of television: miniseries, web series, video essays as a form of brevity in television aesthetics Studies both television production (the TV series themselves) as well as reception (video essays) Features an extended interview with a television practitioner (Vincent Poymiro, the screenwriter of the French series En thérapie, an adaptation of BeTipul/In Treatment) This book offers various approaches to understanding the short form in television. The collection is structured in three parts, first engaging with the concept of brevity as inherent to television fiction, before going on to examine how the rapidly-changing landscape of "television" outside traditional networks might adapt this trope to new contexts made accessible by streaming platforms. The final part of the study examines how this short form is inextricable from a larger context, either in its relation to seriality (from the crossover to the "bottle episode") and/or a larger structure, for example in the reception of a larger whole through short but evocative clips in order to better weigh their impact (from "Easter Egg" fan videos to "Analyses of"). The collection concludes with an interview with award-winning screenwriter Vincent Poymiro about his French series En thérapie (an adaptation of BeTipul/In Treatment).
This book posits an interconnection between the ways in which contemporary television serials cue cognitive operations, solicit emotional responses, and elicit aesthetic appreciation. The chapters explore a number of questions including: How do the particularities of form and style in contemporary serial television engage us cognitively, emotionally, and aesthetically? How do they foster cognitive and emotional effects such as feeling suspense, anticipation, surprise, satisfaction, and disappointment? Why and how do we value some serials while disliking others? What is it about the particularities of serial television form and style, in conjunction with our common cognitive, emotional, and aesthetic capacities, that accounts for serial television’s cognitive, socio-political, and aesthetic value and its current ubiquity in popular culture? This book will appeal to postgraduates and scholars working in television studies as well as film studies, cognitive media theory, media psychology, and the philosophy of art.
Serial Television focuses on contemporary television drama examining its complex themes and often radical narratives.
As American television continues to garner considerable esteem, rivalling the seventh art in its "cinematic" aesthetics and the complexity of its narratives, one aspect of its development has been relatively unexamined. While film has long acknowledged its tendency to adapt, an ability that contributed to its status as narrative art (capable of translating canonical texts onto the screen), television adaptations have seemingly been relegated to the miniseries or classic serial. From remakes and reboots to transmedia storytelling, loose adaptations or adaptations which last but a single episode, the recycling of pre-existing narrative is a practice that is just as common in television as in film, and this text seeks to rectify that oversight, examining series from M*A*S*H to Game of Thrones, Pride and Prejudice to Castle.
This book examines the creative strategies, narrative characteristics, industrial practices and stylistic tendencies of complex serial drama. Exemplified by shows like HBO’s The Sopranos, AMC’s Mad Men and Breaking Bad, Showtime’s Dexter, and Netflix’s Stranger Things, complex serials are distinguished by their conceptual originality, narrative complexity, transgressive lead characters and serial allure. As a drama form that continues to expand and diversify in today’s television, HBO’s Boardwalk Empire and Game of Thrones, Netflix’s Orange Is the New Black and Hulu’s The Handmaid’s Tale provide further examples. Dunleavy investigates the strategies that underpin the innovations, influence and success of complex serial drama, giving students and scholars a nuanced understanding of this contemporary TV form.
Reading Contemporary Serial Television Universes provides a new framework—the metaphor of the narrative ecosystem—for the analysis of serial television narratives. Contributors use this metaphor to address the ever-expanding and evolving structure of narratives far beyond their usual spatial and temporal borders, in general and in reference to specific series. Other scholarly approaches consider each narrative as composed of modular elements, which combine to create a bigger picture. The narrative ecosystem approach, on the other hand, argues that each portion of the narrative world contains all of the main elements that characterize the world as a whole, such as narrative tensions, production structures, creative dynamics and functions. The volume details the implications of the narrative ecosystem for narrative theory and the study of seriality, audiences and fandoms, production, and the analysis of the products themselves.
Between Habit and Thought in New TV Serial Drama: Serial Connections is a consideration of some of the key examples of serial television drama available via transnational streaming platforms in recent times. Through the individual works examined, the book exemplifies the ways in which aesthetics, technology, and capitalism weave a complex social fabric around the production of the respective television series, thus presenting this type of serial drama as a finely engineered cultural production. Taking Bernard Stiegler’s notion of an "image warfare" as its starting point, the author critically investigates the strategies deployed by the shows’ producers to navigate this dynamic, shaped by the "new spirit of capitalism". With creativity intrinsic to the process, on the one hand, and a highly efficient drive for capturing and fixing attention driven by algorithm and economic logic, on the other, the author maps the processes at work in the production of high-value serial drama and considers how, despite this tension, they manage to present meaningful insights into the experience of being in this world: A world shaped by trauma, a desire for justice, and a search for systems of belief that can offer a way through the vicissitudes of contemporary life. Framed by a detailed analysis of the multiple processes that shape these works is a sustained analysis of the serials Mr Robot, Billions, The Leftovers, Rectify, and Westworld, and the dynamics of despair and hope that ripple through them. As such, it will appeal to readers of film and television studies, cultural theory, and those interested in furthering a critical aesthetics for our time.
The classic serial, invented by BBC Radio Drama sixty years ago, survived and adapted itself to television, the arrival of colour and the global market in what has become a flood of classics with all channels competing for ratings and overseas sales. This richly detailed book traces these developments and analyses the genre's response to social, economic, technical and cultural changes, which have re-shaped it into the form we recognise today. The book contains considerable interview material with performers and media professionals.
This book provides an in-depth study of pinboards in contemporary television series and develops the interdisciplinary and innovative concept of Serial Pinboarding. Pinboards are character attributes; they visualize thought processes; are used for conspiracy theories, as murder walls, or for complex cases in any genre. They significantly condition, and are conditioned by, seriality. This book discusses how the pinboards in Castle, Homeland, Flash Forward, and Heroes connect evidence, knowledge, and seriality and how through transmediality and fan practices an “age of pinboarding” has formed. Serial Pinboarding in Contemporary Television will appeal to TV enthusiasts, professionals and researchers, and students of TV and production studies, fan studies, media studies, and art theory.