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Making periodic TV series contemporary: 1960s through postmodern eyes
Содержание
- 1. Making periodic TV series contemporary: 1960s through postmodern eyes
- 2. Research question:What makes periodic TV series relevant
- 3. Theoretical background:Constructing cultural memory:Astrid Erll “Literature, Film
- 4. Choosing the medium: serialization of the pastProvides
- 5. Creating relevant cultural memory“Historical accuracy is not
- 6. Experiential & Mythical modes of the opening
- 7. Reflexive modeForegrounding contemporary discourses which show change
- 8. Remediation “What is new about new media
- 9. Ad for the Carousel
- 10. Jantzen (swimsuit line)
- 11. Object of remediationHeinz Ketchup Don Draper’s ‘Pass the Heinz’ Campaign from Mad Men
- 12. Bringing old-fashioned to the contemporary:Case of transmedialityDesire
- 13. Слайд 13
- 14. ConclusionNot focusing on historical accuracy, but on
- 15. Скачать презентанцию
Research question:What makes periodic TV series relevant and appealing to the contemporary audience of the time?How periodic pieces extend their way into modern society?
Слайды и текст этой презентации
Слайд 2Research question:
What makes periodic TV series relevant and appealing to
the contemporary audience of the time?
way into modern society?
Слайд 3Theoretical background:
Constructing cultural memory:
Astrid Erll “Literature, Film and the Mediality
of Cultural Memory”
Using concept of remediation:
Jay David Bolter, Richard
Grusin “Remediation”
Transmediality for the audience:
Henry Jenkins: “Transmedia storytelling”
Слайд 4Choosing the medium: serialization of the past
Provides space for historical
complexity
Opportunity to elevate story through personalization
Experiential narrative techniques: nonlinear storytelling,
cliff-hangers, story beats etc. and modern filming techniques (long takes, steady shots)More accessible for contemporary audience, viewing over a long period of time in small portions
Brings contemporary discourses to foreground
Immersive experience
“Whenever the past is represented, the choice of media and forms has an effect on the kind of memory that is created…” (Astrid Erll)
Cultural memory is shaped by the recording media
Слайд 5Creating relevant cultural memory
“Historical accuracy is not one of the
concerns of such “memory-making” novels and movies; instead they cater
to the public with what is variously termed “authenticity” or “truthfulness.” They create images of the past which resonate with cultural memory. (A. Erll)Through modes of remembering
Слайд 6Experiential & Mythical modes of the opening sequence
“…the series
not only introduces the viewer in one of the key
decades in U.S. history, but it also represents this period of time by appropriating andtransforming key aspects of Hitchcock’s innovative cinematographic language. “(B.G.Martínez)
Opening sequence as prologue of the series and each episode
Introducing the main character (POV) and his main characteristic (struggle with identity)
intertextuality of works of Alfred Hitchcock, referencing Alfred Hitchcock’s “Vertigo”
Intertextuality of “the falling man” image in the 9/11 attacks
Made at the time of Financial crisis of 2007–08
Vertigo, 1958
Mad Men (2007-2015)
Слайд 7Reflexive mode
Foregrounding contemporary discourses which show change between past &
present: religion, racism, sexism etc.
Taking history as a form of
discourse (continuous, cyclical etc.)
Слайд 8Remediation
“What is new about new media comes from the
particular ways in which they refashion older media…” (Bolter &
Grusin)Driving force of media history is the desire for immediacy or “the transparent representation of the real”
Ads in Mad Men vs Real ads
As in choosing new media as object
Слайд 12Bringing old-fashioned to the contemporary:
Case of transmediality
Desire for immersion and
off-screen involvement
Foregrounds the aesthetics
“Mad Men yourself”
Mad Men online cocktail guide
Слайд 14Conclusion
Not focusing on historical accuracy, but on contemporary take
What can
it say about our time
Possibility to compare to other period
shows 
