Lost, fiction vitale

The mere mention of Lost's ending usually suffices to grab listeners' attention. We began watching Lost ourselves at age sixteen. We can vividly recall the first episodes aired on TF1 in summer 2005. We thought "Oh boy! They'd better know where they're going with this. If it were up to us, we'd have had the series end with the first season, so that we could find out if the survivors from Oceanic flight 815 would make it off the island. We longed for an answer to Charlie's question at the end of the TV series' pilot: "Guys, where are we?". As our patience was tested, we began to watch Lost with greater detachment. We began to settle into the idea that the show could run for several more years-until the decision to wrap up the series in its sixth season gave our expectations a deadline. From that point on, we could revert back to being patiently impatient knowing that our wait would pay off. As we researched and prepared this work, memories of all these feelings flooded back into our minds. Each of us has our own stories with Lost, having formed what one might call a "way of watching" the series. One's personal history is necessarily embedded in a time period. Whether you followed Lost while it was being aired (by following the American web broadcast, or on French television) or whether you enjoyed the show on DVD, download or video on demand, no matter when you watched or tuned in, we all experienced its story in our own way. This is what we could call "spectatorial time", that is, the memory of the time shared with the fiction and what we got out of it. The series' greatest specificity seems to me to be its highly peculiar structuring of time. A time of remembrance, of anticipation, of alternation, a time for constructing identity and affect, a time for sharing and discussion. 2 From a more pragmatic standpoint, each season of Lost revolves around two different time trajectories. We'll come back to this point later on. By focusing on this temporal specificity, we see that Lost's ending is intended to create an impossible junction between two of the narrative's temporalities and form a discourse aimed at pushing the

Section: Timeless Discoursementioning

confidence: 97%

Section: Timeless Discoursementioning

confidence: 99%

mentioning

confidence: 99%

See 1 more Smart Citation

Lost's Ending: the Junction of Time and Timeless Discourse

Lifschutz¹

2016

“…Celles-ci dévoilent le statut des flash-sideways, temporalité hors du temps, entre la vie et la mort, temps de l'anamnèse, temps créé par les protagonistes pour se retrouver et se souvenir. Cette ligne temporelle a donc une fonction qui est de « préparer les spectateurs à la fin de la série, de les aider à faire un travail de deuil et de rétrospection : se souvenir en flashback des moments marquants, se retourner sur le chemin parcouru, se rappeler ce que nous avons vécu depuis six ans 5 . » Dans ce processus de « déformulation », le dialogue entre Jack et Christian marque un point de non-retour puisqu'il dépasse les frontières de la mort.…”

Section: « Déformulation » De La « Formule »unclassified

La fin de Lost : jonction du temps et discours intemporel

Lifschutz¹

2016

généralement l'attention de l'audience. Nous avons personnellement commencé à regarder Lost à l'âge de seize ans. Nous nous souvenons très bien des premiers épisodes diffusés sur TF1 à partir de l'été 2005. Nous avons alors pensé « Et bien ! Ils ont intérêt à savoir où ils vont ». Si la décision nous incombait, nous aurions aimé que la série se termine dès la première saison puisque nous voulions savoir si les rescapés de du vol Océanic 815 allaient réussir à quitter l'île. Nous désirions une réponse à la question posée par Charlie dès la fin du pilote de la série : « Les gars, où est-ce qu'on est ? ». Pourtant, à mesure que notre impatience était mise à l'épreuve, nous regardions Lost avec plus de détachement. Nous commencions à accepter l'idée que cela pouvait durer encore plusieurs années-avant que la décision d'achever la fiction lors de sa sixième saison fixe un nouvel horizon d'attente. À partir de ce moment, nous pouvions redevenir patiemment impatient puisque nous avions la certitude que notre attente serait contentée d'une manière ou d'une autre. En préparant ce travail, c'est le souvenir de tous ces sentiments qui nous est revenu. Nous avons tous notre propre histoire avec Lost. Chacun a bâti ce que nous pourrions appeler un « mode de regard » sur cette fiction. Cet historique personnel est nécessairement inscrit dans une temporalité. Que vous ayez suivi Lost lors de sa diffusion (en parallèle de la diffusion américaine sur Internet, voire sur les chaînes françaises) ou que vous ayez consommé la fiction en DVD, en téléchargement ou en VOD sur un laps de temps plus ou moins court, nous avons chacun eu notre expérience de cette fiction. C'est ce que nous pourrions appeler le temps « spectatoriel », c'est-à-dire la mémoire du temps que nous avons partagé avec la fiction et ce que nous en avons retiré. La plus grande spécificité de cette série me semble résider dans son articulation si particulière du temps. Un temps du souvenir, de l'anticipation, de l'alternance, un temps constructeur d'identité et d'affect, un temps de partage et de discussion.

“…As Sarah Hatchuel notes, "The show reveals the social construction and ideology of otherness… asking us to share the perspective of the Others and reveals that the survivors are the 'others' for the Others: The other is never other 'by nature,' but rather because they have been labeled and stigmatized as such. 25 " With this in mind, Juliet's statement in which she confesses that it is "very stressful being an Other" should be taken at face value. Lost offers an innovative perspective on the way in which the imperial gaze functions, because the series allows this gaze to be directed back toward the post-colonial observer.…”

Section: Othernessmentioning

confidence: 99%

Conceptualizing Otherness with Lost: Foucault, Lacan, and the Mediation of the Gaze

Willis¹

2016

It goes without saying that the television series Lost has left significant repercussions in its wake. Following in the footsteps of various other contemporary TV series, Lost had a significant impact on the possibilities that the medium's form offers in terms of narrative, aesthetic, and subject matter. When it comes to narrative form, it seems that Lost demonstrates a general tendency toward narrative forms that can be qualified as complex 1 ; indeed, the show proposes a narrative in which the audience must mentally invest if they hope to piece together the meaning of the show's events. These events fall simultaneously within the scope of the diegetic present, past, and future, as well as the parallel present. The show was also innovative in terms of metanarrative-using online content and a gaming universe to set in motion a diegetic universe that is both fascinating and complex. These innovative spaces developed by the show's creators have continued to attract attention since the show's initial airing in 2004, and much remains to be done to understand the impact that this narrative has had both on the public and on the history of television. 2 The impact that the show has on audiences plays out on multiple levels. Notably, Lost makes extensive use of philosophical references, which in turn deepen an informed audience's experience of the show. For example, character names are often used to evoke existential conflicts between different belief systems. Although the link between Lost and philosophy has already been analyzed at length, there has been little study of the show in terms of psychoanalytical theory. More specifically, it must be noted that the question of the eye that looks and the gaze, as well as their role in the reception of the show, remain largely unexplored, despite their overwhelming presence in the show's narrative structure. Of course, the show's references to the philosophical ideas of Michel Foucault did not go unnoticed, especially when thinking of surveillance and