American Tv Shows

Authenticity and the body are important issues in contemporary culture, and pop culture and new television series are no exceptions. By culturally, philosophically and ethically examining this important issue, this article discusses how authenticity is constructed through the human face and body. It focuses on some aspects of confessions by the main characters of the Homeland television series. The most important aspects are: how the body and the face are presented in acts of videotaped confession and the suicidal act of confession. This programme clearly shows authenticity as a social convention and a staged act. Depicting and preparing authenticity in a video recording is linked with blackmail in modern society and culture. Another issue considered in the article is how the body can be manipulated by the media and the individual to stage authenticity in a ‘truth tape’.

Evaluating and updating TV programs using data mining. Guessing the popularity of the TV show is an exciting activity with a growing interest in people in TV dramas. A simple guess of a trending TV game based on individual ratings can be made. Simple predictions of trending TV shows based on individual ratings can be made based on the target audience (Age, Year of Release, Rotten Tomatoes, etc.).

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.

نیچه جهان را عاری از ارزش‌های مطلق و فرازمانی-فرامکانی می‌داند. او بر این باور است که فرومایگان و ضعفا از آنجایی که توان مقابله با افراد قدرتمند و والامقام را نداشته‌اند، جهانی ماورای این جهان ساخته‌اند تا با خیال آسوده مطمئن باشند که گرچه در این جهان نمی‌توانند از پس مشکلاتشان بربیایند و زورشان به آن افراد قدرتمند نمی‌رسد، در آن جهان ماورایی حق به حق‌دار خواهد رسید. از نظر نیچه، با این کار ارزش این جهان و این زندگی را به امید رسیدن به خیر در جهانی دیگر نادیده می‌گیریم. حال با پذیرش اینکه ارزشی مطلق و ذاتی در جهان وجود ندارد، به نظر می‌رسد که جهان پُرآشوب و تهی از معنا می‌شود. اما به باورِ نیچه انسان حقیقی و ارزشمند انسانی‌ست که آشوب و بی‌معنایی این جهان را نه تنها بپذیرد، بلکه تلاش کند تا آن را تبدیل به به اثر هنری زیبایی کند که ارزشمند و بامعناست. او چنین انسانی را ابرانسان می‌نامد. هدف مارک. تی. کونارد در این مقاله پاسخ دادن به این پرسش است که آیا می‌توان بارت سیمپسون  در مجموعه‌ی «سیمپسون‌ها» را، باتوجه به شخصیت ستیزه‌جویش که همواره با تمام اولیاءامور به مخالفت برمی‌خیزد، همان ایده‌آل نیچه‌ای، همان ابرمردی که در مخالفت با ارزش‌های پذیرفته شده‌ی جامعه قدعلم می‌کند دانست؟ کونارد پس از بررسی دقیق آراء نیچه به این نتیجه می‌رسد که پاسخ این پرسش منفی‌ست، زیرا بارت سیمپسون شخصیت مستقلی از آن خود ندارد، او صرفاً با همه مخالفت می‌کند، اما در ازاء مخالفتش سازندگی‌ای انجام نمی‌دهد و تلاش نمی‌کند تا از پسِ آشوب زندگی معنا و ارزشی بیافریند؛ بنابراین به هیچ‌عنوان نمی‌توان او را مورد تأییدِ نیچه دانست.

The trailer of the US-american TV-show "Desperate Housewives" is the start for an art class series about quoting art history in new media. I've set up a learning process of perceiving artworks, reflecting their meaning for a contemporary use, and creating a tableau vivant as a staged photo that the students presented with a portfolio to the audience in class, and in the German art competition Kinder zum Olymp! It's been a long time ago since I've planned the lessons but in Corona times it became a second renaissance on Instagram to engage yourself with art at home.

The purpose of this study is to show how TV series reflect real life, which references they make, and to which extent they represent and project the culture and life. In this globalizing world, the definition and borders of culture, of course, expand and change. People now share almost similar lifestyles, same concepts, and same products, therefore it becomes unhealthier to define all cultures in their specific geographical borders. In this essay, the quick summary of TV series becoming the essential part of our lives is given, TV series is defined and creation of this cultural media product is described. Later on, with analysis of two examples, "Victoria" and "Black Mirror: Nosedive", in the context of projecting the real life, the development of essay is made. This study shows that whether a TV series is fictional or realistic at the extreme levels, it contains elements from real life and it is inevitable, since it is a human work. The arguments given in the introduction are supported.

Performativity is at times a crucial component of serial murder. A specific positioning of the body and accompanying scenarios, settings, props or costumes all serve to boast, to leave a mark and to communicate the murderer’s twisted message to the onlookers. Such theatricality of serial crime made it one of the favourite themes for popular culture. The latest example is “Hannibal” (2013- ), a television series created by Bryan Fuller for NBC. It is loosely based on the novels by Thomas Harris and the accompanying films. The characteristic feature of the series is the grotesqueness of the murders: female bodies pierced by antlers; a throat cut open to shove a violin bridge through; a human totem on the beach made of old and new pieces of victims – the list is long and appalling.
In this book chapter the extremely bizarre nature of the presented crimes and their function are discussed. The performativity theory is used to look at how the murders, with their outlandish and extreme brutality, become metonymy for creating one’s identity. The serial killers in the show attempt to establish their own unique identity through their signature bizarre crimes; yet, these crimes are constantly repeated with a twist by Hannibal, who in this way both steals the other killers' identity and establishes his own. The series seems to illustrate the nature of identity as performative, unstable and changeable, especially in the light of the clash between sanity and insanity, which is one of the leitmotifs of the series. The main character of the show, Will Graham, is a forensic consultant whose greatest talent, through observation, is to momentarily "become" the murderer in order to understand the perpetrator's hidden agendas. This gift – again, stealing the murderer’s identity – leads him to the brink of madness, where he doubts who he is and what he is capable of. Paradoxically, Hannibal, the psychopath who eats his victims, is Will’s psychologist, whom Will believes to be the epitome of sanity. Thus, the shocking aspects of the show illustrate the core questions posed by it: what is identity, if it can be blurred by madness, be stolen, imposed or pretended?

Abstract of a paper presented at the final conference of the Popular Seriality Research Unit in Berlin: "SERIALITY SERIALITY SERIALITY – THE MANY LIVES OF THE FIELD THAT ISN'T ONE" JUNE 22-24, 2016

From Dallas to The Simpsons through to Breaking Bad – practically every popular American TV format of the last 50 years has been turned into a porn parody. Against the backdrop of Seriality Studies, this phenomenon is of interest in two respects: one, the way in which pornography engages with popular serial narratives in terms of a genre-crossing intertextuality; and two, the way in which these porn parodies themselves become serial narratives in terms of adult remakes or adaptations.

As séries televisivas estadunidenses têm alcançado grande popularidade no Brasil. Pesquisadores brasileiros buscam analisar esse fenômeno examinando todo o circuito de produção, circulação e consumo dessas obras estrangeiras. Através de um extenso levantamento bibliográfico, este trabalho se propõe a ser um recurso pedagógico que apresenta um mapeamento didático da história da televisão nos Estados Unidos, ressaltando, especificamente, a transição das lógicas do broadcasting para o narrowcasting, do appointment viewing para o time-shifting, e do ideal de escassez para a proliferação de conteúdos. Pontua-se também as implicações que as configurações econômicas e tecnológicas tiveram na noção de "qualidade televisiva" ao longo da história desse meio nos Estados Unidos. Parte-se do pressuposto que uma maior compreensão desses processos contribuirá para a forma como entendemos a popularidade dessas produções no Brasil e ao redor do mundo. Palavras-chave: Televisão estadunidense. Revisão bibliográfica. Broadcasting. Séries. Qualidade.

Artigo apresentado no XII Congresso ALAIC, 2014.

Resumo: Este artigo teve como objetivo analisar de que modo as diferenças entre os formatos das telenovelas e dos seriados da Rede Globo e da HBO exerceram uma influência na produção de conteúdos transmídia, localizadas nos sites oficiais dessas produções. Neste sentido, selecionamos as ficções seriadas televisivas que se destacam em meio à grade dessas emissoras, a saber: Insensato Coração, Fina Estampa, Avenida Brasil, Salve Jorge e Amor à Vida, além de Boardwalk Empire, Game of Thrones, The Newsroom, Treme e True Blood. Resultado da aproximação dos resultados das dissertações de Bianchini (2012) e Cerqueira (2014), o artigo teve como resultado a indicação de como a duração das telenovelas e dos seriados, bem como a frequência de exibição dos capítulos e episódios, dialogam fortemente com a produção das extensões transmídia online, que, a depender do contexto, assumem lógicas distintas.

El objetivo principal de este trabajo es analizar el uso que la televisión hace del cuerpo seductor como principal punto de atracción en las campañas publicitarias de series ficcionales norteamericanas. La investigación se centra exclusivamente en el cuerpo de la mujer. El trabajo quedará dividido en tres partes. En la primera, se realiza un breve repaso al análisis del cuerpo femenino, el sexo y el erotismo como reclamos publicitarios ofreciendo, también, una panorámica sobre las investigaciones que se aproximan al objeto de estudio. Tras esto, en una segunda parte, se realiza el análisis en cuestión de los materiales publicitarios de las series de televisión para, en una tercera parte, y gracias a los resultados obtenidos, desarrollar unas conclusiones finales y formular una serie de cuestiones que permitan, en un futuro, preparar el terreno para otras investigaciones.

A convergência midiática ainda é um processo, afinal, a cada dia inúmeros diagramas de Venn se interceptam criando, assim, novas possibilidades. A proliferação das caixas pretas começou, e o objetivo deste trabalho é compreender melhor que efeitos a convergência traz ao ethos contemporâneo e de que forma ela vêm moldando, e modificando os produtos midiáticos. Ao longo desse trabalho, tentou-se apresentar os pilares da convergência midiática, a partir das recentes teóricas sobre o assunto, bem como da concepção do sujeito, da formação de identidade, da influência do meio e do outro na constituição do ethos contemporâneo. A fim de materializar esse fenômeno, quantificá-lo e qualificá-lo optou-se por analisar o seriado LOST devido a sua representabilidade da gênese do processo de convergência dos meios.

Artigo apresentado no XI Congresso Intercom Sul, 2010.
O presente trabalho também é um capítulo do ebook 'Intercom Sul 2010: Perspectivas da Pesquisa em Comunicação Digital': http://pt.slideshare.net/adriamaral/ebook-comunicao-digital-intercom-sul-2010

Resumo: O objetivo desta pesquisa é destacar as principais mudanças pelas quais as narrativas seriais ficcionais televisivas norte-americanas passaram ao longo dos anos, desde o surgimento da primeira sitcom, nos anos 1950, até o desenvolvimento das séries dramáticas com complexa evolução psicológica das personagens e histórias contadas em estrutura narrativa modular. Também é abordado brevemente o uso da narrativa transmidiática nos seriados, iniciativa que expande a história contada por meio da televisão para outros suportes midiáticos.

The aim of this chapter is to demonstrate how Twin Peaks: The Return hints at the exhaustion of contemporary television series format while simultaneously regenerating it and inviting the audiences into new modes of audiovisual communication. A special focus falls on the affinity between The Return and an early 20th-century art movement of Suprematism.

This paper presents a case study of a group of Chinese ESL learners in China who study English by immersing themselves regularly and rigorously in English television drama. A self-directed learning pedagogy has been developed and discussed, which seems to have signposted an effective and economic way for ESL learners to improve linguistic, sociolinguistic and pragmatic competence beyond the language classroom.

Keywords: ESL learner; self-directed language learning; pedagogy; identity; English television drama (ETD)

Cette thèse s’est  imposée comme un plaidoyer
pour la prise en considération du contexte
socio-économique de production et de primo-diffusion
dans l’étude des séries. Plus précisément,
elle avance que l’identification des lignes
éditoriales des diffuseurs et des producteurs,
combinée à une analyse des grilles de programmes,
est indispensable à une pleine compréhension
de la série télévisée en tant que
produit médiatique.

Nel maggio 2014 la rete televisiva ABC mette a disposizione dei suoi telespettatori un video che funge da prologo per una serie che promette di rivoluzionare i canoni di ogni fiaba tradizionale. L'operazione era già stata portata avanti con successo da Once Upon a Time, ma Galavant si dimostra sin dalle premesse degli spot televisivi qualcosa di completamente diverso.
La risposta del pubblico è subito entusiasta e, nei mesi, l'attesa per la messa in onda cresce spasmodicamente, accresciuta dai vari sneak-peak rilasciati dal network che approfitta del carattere musicale della serie per diffondere la canzone che fa da prologo a tutta la vicenda in modo che essa diventi virale e nota al pubblico già prima del gennaio 2015, quando finalmente i primi due episodi vanno in onda.

Em 2016 foram produzidas 455 séries na televisão americana e em veículos de streaming. Essas produções têm chamado a atenção de espectadores e acadêmicos ao redor do mundo. Entretanto, pesquisas sobre essas produções no Brasil ainda são incipientes e deficientes de certas especificidades dos modelos de produção da televisão americana. Esse trabalho se propõe a aprofundar e contribuir para a discussão em torno dessas séries partindo de uma análise dos modelos econômicos dos veículos produtores de ficção seriada televisiva nos Estados Unidos. Argumenta-se que a " indústria das séries " americana é influenciada pelas necessidades mercadológicas dos veículos produtores e regida por duas principais lógicas, a distinção e a repetição.

Palavras-Chave: Séries Televisivas. Modelos Econômicos. Indústria Televisiva.

Abstract: In 2016, there were 455 scripted shows in American television and streaming services. These productions have attracted attention from viewers and scholars around the world. Researches in Brazil, however, are still lacking certain specificities concerning theses productions and their production models. This paper aims to deepen and contribute to the debate on American television series based on from an analysis of the economic models of television vehicles in the United States. It is argued that the American "Series Industry" is influenced by the marketing needs of the production vehicles and determined by two main logics: distinction and repetition.

La création de séries télévisées dérivées vise toujours, de manière plus ou moins explicite, un transfert d'ethos de la série première à la série seconde. Dick Wolf, créateur de la franchise Law & Order, pousse cette logique à l'extrême en construisant, à l'aide de multiples configurations discursives spécifiques, un ethos clairement identifiable. Ainsi, au fur et à mesure du déploiement de ses différentes séries dérivées est bâtie une figure de garant de l'univers fictionnel fondée moins sur l'habituel examen de cohérence du narrateur — qui a été en œuvre lors de la réception de la première série, Law & Order — que sur la mise en avant d'une similitude entre les programmes produits. Ainsi, alors que la plupart des systèmes de séries dérivées sont fondées soit sur la reprise d'un même schéma narratif (comme dans les différentes variations de CSI) soit sur le passage d'un personnage secondaire devenu principal dans la série seconde (voir Buffy the Vampire Slayer et Angel, Grey's Anatomy et Private Practice...), le cas de Dick Wolf est intéressant car le système de dérivation est fondé sur l'image du producteur qui développe une rhétorique particulière autour de son image de marque. Ce travail éthique au sens technique est tellement développé qu'il peut se déployer en dehors même du genre de la série télévisée dramatique, comme le montre sa série documentaire Crime & Punishment. Dans le cadre du discours épidictique que développe la forme série télévisée, le cas de la franchise Law & Order offre donc un exemple prototypique de la façon dont peut se construire l'image d'un créateur à travers des stylèmes prenant valeur de figures argumentatives.