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Dynamics, Determinability and Configurative Audience Involvement: The TV Drama Series in the Era of Social Media

机译:动态性,可确定性和配置性受众参与:社交媒体时代的电视连续剧

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摘要

The dramatic television series, like many other mediums, has traditionally adhered to a consistent set of text variables over it’s development as a form of media. These variables are Dynamics, Determinability, Transiency, Perspective, Access, Linking and User Function, and television series has typically maintained a fixed quality for each of these categories. However, with the era of social media, the potential for these variables to open up arises, and it is possible that the way we view a dramatic television series as a text is no longer governed by these guidelines as strictly as it once was. Social media has already been utilised by the television industry in regards to marketing or establishing fan-bases, but it’s rarely been employed in such a way that it can reshape how we view and analyse television.While there are several different ways that this potential can be explored from a narrative perspective, many of these present very clear drawbacks to utilising them from a production standpoint. While a choose-your-own-adventure type television series where the audience votes on decisions would certainly shake up these variables a great deal, it also represents a huge increase in production costs and effort, as splitting paths result in a lot of unused or unaired footage.The goal is to find a concept that shakes up the traditional television format with its integration of social media, that doesn’t result in a huge shift in production costs. One concept that potentially achieves this was the idea that the actual content of the television series remains fixed, while the order of the episodes shifts around depending on audience interaction and feedback via social media. This represents an extremely interesting narrative concept, where the story has to make sense regardless of the order the episodes are viewed in, while still shifting the narrative structure enough to be interesting for audiences.Based on this concept, Kleptoes is born. Kleptoes is a dramatic serialized television series focused around a group of friends who develop a taste for burglary after seeking revenge for a robbery of their own house. Kleptoes starts and finishes with a traditional pilot episode and finale episode, while each episode in between focuses on a different character across the same timeline. These episodes can be viewed in any order and make sense, as we see what each character has been up to in the time span between pilot and finale, often seeing the same scene from different perspectives with different details revealed or hidden.Not just an interesting and innovative format for storytelling, this concept also succeeds in reworking some of the earlier variables to separate itself from the traditional manner of viewing television as a text. Dynamics, Determinability andUser Function in particular are all impacted greatly by this integration of social media, and prove that the way we view the television series as a text can be reshaped greatly by incorporating digital media in it’s development.
机译:与其他许多媒体一样,这部戏剧性的电视连续剧在其作为一种媒体形式的发展过程中,一贯坚持使用一系列一致的文本变量。这些变量是动态性,可确定性,半透明性,透视图,访问,链接和用户功能,并且电视连续剧通常为每个类别保持固定的质量。但是,随着社交媒体时代的到来,出现了这些变量开放的可能性,并且我们将戏剧性电视连续剧视为文本的方式可能不再像以前那样严格地受这些准则支配。电视业已经在营销或建立粉丝群方面利用了社交媒体,但很少使用这种社交媒体来重塑我们观看和分析电视的方式。尽管有多种不同的方式可以利用这种潜力从叙述的角度进行探讨,从生产的角度来看,其中许多都存在非常明显的缺点。尽管观众选择决定的冒险类电视连续剧肯定会极大地动摇这些变量,但它也代表着生产成本和工作量的巨大增加,因为分割路径会导致许多未使用或目标是找到一种概念,通过整合社交媒体来撼动传统电视格式,而不会导致生产成本的巨大变化。可能实现这一目标的一个概念是,电视连续剧的实际内容保持固定,而情节的顺序则根据观众的互动和通过社交媒体的反馈而变化。这代表了一个非常有趣的叙事概念,无论故事的观看顺序如何,故事都必须有意义,同时还要使叙事结构发生足够的变化以引起观众的兴趣。基于此概念,Kleptoes诞生了。 Kleptoes是一部引人入胜的连续电视连续剧,重点关注一群朋友,他们寻求报复抢劫自己的房屋后,对抢劫产生了浓厚的兴趣。 Kleptoes以传统的飞行员情节和结局情节作为开始和结尾,而介于两者之间的每个情节则集中在同一时间轴上的不同角色上。这些情节可以以任何顺序观看并有意义,因为我们看到了每个角色在飞行员和大结局之间的时间变化,经常从不同的角度看到相同的场景,并揭示或隐藏不同的细节。以及新颖的讲故事格式,该概念还成功地改造了一些较早的变量,使其与将电视视为文本的传统方式有所不同。社交媒体的集成尤其会对动态性,确定性和用户功能产生重大影响,并证明通过将数字媒体纳入其发展过程,可以大大改变我们将电视连续剧视为文本的方式。

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    Fleet Matthew;

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