Serial Pinboarding

Ganzert, Anne

doi:10.1007/978-3-030-35272-1_2

Cited by 2 publications

(1 citation statement)

References 38 publications

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“…She argues that pin-boarding allows series to make their own apparatus visible for the viewers in the long tradition of diagrams and diagrammatic art. 41 Finally, a myriad of details in the form of objects, gestures, looks, costumes, voice inflection, natural or technological sounds, or types of silences, are increasingly the object of television analysis. Mad Men for example stands out in its use of objects and period detail, which has sometimes been described as bordering on fetishism.…”

Section: Which Moments and Why?mentioning

confidence: 99%

Dealing with Long Duration: TV Series, Aesthetics and Close Analysis

Hudelet¹

2020

inmedia

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Contemporary visual experiences seem to be mostly characterized by their brief and fragmented nature -the multiplication of screens and their extreme portability, as well as the development of transmedia, have enhanced the fragmentation phenomenon, corresponding to what Nicholas Mirzoeff calls "the disjunctured and fragmented culture that we call postmodernism," which to him is "best imagined and understood visually, just as the nineteenth century was classically represented in the newspaper and the novel." 1 But whereas the post-modern visual regime is overwhelmingly associated with short attention spans, 2 one of today's dominant audiovisual forms is on the contrary singled out by its long duration and expansive nature-that of the TV series. Although series are also marked by a form of disruption because of their episodic character, their main feature however, is their very long duration, and their ability to engage viewers for many hours-sometimes over several months and, hopefully, over many years. 3 2 Not only do viewers devote substantial portions of their lives to these fictions and become emotionally and intellectually involved with their increasingly complex narratives and characters, but they have also been engaging more actively with the audiovisual aesthetics of these series. Since the turn of the new millennium, the size and HD quality of screens have led many TV series to develop sophisticated, dense modes of visual expression by increasing the new spectatorial control over the rhythm and modes of reception and the shift to digital production and post-production technologies. Consequently, many series have come to be considered audio-visual oeuvres as well as complex narratives, at the same time that they are products of the cultural industry. This has led to a paradigm shift and to new debates in terms of the academic study of these objects. Television serials approach to aesthetics has undergone a revival, after having sometimes been considered by television studies as both dated and ideologically dubious. In the past few years, scholars have increasingly defended the usefulness of careful, sustained analysis of brief passages, to gain insight Dealing with Long Duration: TV Series, Aesthetics and Close Analysis InMedia, 8.1. | 202010 By re-centering analytical focus on the role and impact of form, recent TV criticism and academic study have contributed to showing how the density and complexity of the audiovisual form of TV series deserve to be considered fully and in detail in order to sustain all types of analytical and critical reflections. For instance, Jason Mittell's notion of "forensic fandom" explains that the new manifestations of "complex TV," based on intricate, multiple story arcs and serialized plot, "create magnets for engagement, drawing viewers into story worlds and urging them to drill down to

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Section: Which Moments and Why?mentioning

confidence: 99%