{"id":1436,"date":"2020-11-30T09:39:57","date_gmt":"2020-11-30T08:39:57","guid":{"rendered":"https:\/\/wp.unil.ch\/narratologie\/?p=1436"},"modified":"2020-11-30T09:42:11","modified_gmt":"2020-11-30T08:42:11","slug":"exploring-seriality-on-screen-audiovisual-narratives-in-film-and-television-annonce-de-parution","status":"publish","type":"post","link":"https:\/\/wp.unil.ch\/narratologie\/2020\/11\/exploring-seriality-on-screen-audiovisual-narratives-in-film-and-television-annonce-de-parution\/","title":{"rendered":"Exploring Seriality on Screen: Audiovisual Narratives in Film and Television (annonce de parution)"},"content":{"rendered":"\n

Ariane Hudelet, Anne Cr\u00e9mieux (dir.), Exploring Seriality on Screen: Audiovisual Narratives in Film and Television<\/em><\/a>, Routledge, 2020.<\/strong><\/p>\n\n\n\n

This collective book analyzes seriality as a major phenomenon increasingly connecting audiovisual narratives (cinematic films and television series) in the 20th and 21st centuries. <\/p>\n\n\n\n

The book historicizes and contextualizes the notion of seriality, combining narratological, aesthetic, industrial, philosophical, and political perspectives, showing how seriality as a paradigm informs media convergence and resides at the core of cinema and television history. By associating theoretical considerations and close readings of specific works, as well as diachronic and synchronic approaches, this volume offers a complex panorama of issues related to seriality including audience engagement, intertextuality and transmediality, cultural legitimacy, authorship, and medium specificity in remakes, adaptations, sequels, and reboots. <\/p>\n\n\n\n

Written by a team of international scholars, this book highlights a diversity of methodologies that will be of interest to scholars and doctoral students across disciplinary areas such as media studies, film studies, literature, aesthetics, and cultural studies. It will also interest students attending classes on serial audiovisual narratives and will appeal to fans of the series it addresses, such as\u00a0Fargo, Twin Peaks, The Hunger Games, Bates Motel,\u00a0<\/em>and\u00a0Sherlock<\/em>.\u00a0<\/p>\n\n\n\n

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Table of contents<\/strong><\/p>\n\n\n\n

Introduction: Cinematic, Televisual or Post-Serialities <\/p>\n\n\n\n

Ariane Hudelet<\/em> and Anne Cr\u00e9mieux <\/em><\/p>\n\n\n\n

Part 1: Serial Specifities<\/strong><\/p>\n\n\n\n

1. Opening Gambits: Cross-Media Self-Reflexivity and Audience Engagement in Serial Cinema, 1936-2008<\/p>\n\n\n\n

Felix Brinker<\/em> and Ilka Brasch<\/em><\/p>\n\n\n\n

2. Ensemble Storytelling: Dramatic Television Seriality, the Melodramatic Mode, and Emotions <\/p>\n\n\n\n

E. Deidre Pribram<\/em><\/p>\n\n\n\n

3. The Cinematic-Televisual: Rethinking Medium Specificity in Television\u2019s New Golden Age<\/p>\n\n\n\n

C.E. Harris<\/em><\/p>\n\n\n\n

Part 2: Marketing Seriality<\/strong> <\/p>\n\n\n\n

4. A Forgotten Episode in the History of Hollywood Cinema, Television and Seriality: The Case of the Mirisch Company<\/p>\n\n\n\n

Paul Kerr<\/em><\/p>\n\n\n\n

5. Diversions in the Hunger Games Film Series: The Fragmented Narrative of Hijacked Images<\/p>\n\n\n\n

Chlo\u00e9 Monasterolo<\/em><\/p>\n\n\n\n

6. Raising Caine: Hollywood Remakes of Michael Caine’s Cockney Cycle<\/p>\n\n\n\n

Agniezska Rasmus<\/em><\/p>\n\n\n\n

Part 3: Seriality and the Cinematic\/Televisual Convergence<\/strong><\/p>\n\n\n\n

7. The (Re)Making of a Serial Killer: Replaying, \u201cPreplaying\u201d and Rewriting Hitchcock\u2019s Psycho in the Series Bates Motel<\/p>\n\n\n\n

Dennis Tredy<\/em><\/p>\n\n\n\n

8. Fargo (FX, 2014-) and Cinema: \u201cJust Like in the Movie\u201d?<\/p>\n\n\n\n

Sylvaine Bataille<\/em><\/p>\n\n\n\n

9. Screening Dreams: Twin Peaks, from the Series to the Film, back again and beyond<\/p>\n\n\n\n

Sarah Hatchuel<\/em><\/p>\n\n\n\n

Part 4: Meta-Serialities<\/strong>  <\/p>\n\n\n\n

10. In-between Still and Moving Pictures: Series and Seriality in Stephen Poliakoff\u2019s Serial Drama Shooting the Past (1999)<\/p>\n\n\n\n

Nicole Cloarec<\/em><\/p>\n\n\n\n

11. \u201cThe Abominable Bride\u201d (Douglas Mackinnon, 2016): Sherlock and Seriality<\/p>\n\n\n\n

Christophe Gelly<\/em><\/p>\n\n\n\n

12. Subject Positions and Seriality in The Good Wife<\/p>\n\n\n\n

Samuel Chambers<\/em><\/p>\n\n\n\n

Ariane Hudelet <\/strong>is Associate Professor at Universit\u00e9 de Paris (LARCA\/CNRS), where she teaches English literature and Visual Culture. After working on film adaptations,\u202fshe has devoted her most recent research to contemporary TV dramas, from an aesthetic and cultural perspective, and is co-editor of the online journal TV\/Series.\u202f\u3000<\/p>\n\n\n\n

Anne Cr\u00e9mieux <\/strong>is Associate Professor of American studies at Universit\u00e9 Paris Nanterre (CREA). She has published books, articles and book chapters on the representation of minorities in cinema and television.\u3000<\/p>\n","protected":false},"excerpt":{"rendered":"

Ariane Hudelet, Anne Cr\u00e9mieux (dir.), Exploring Seriality on Screen: Audiovisual Narratives in Film and Television, Routledge, 2020. This collective book analyzes seriality as a major phenomenon increasingly connecting audiovisual narratives (cinematic films and television series) in the 20th and 21st centuries. <\/p>\n","protected":false},"author":1001953,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_seopress_robots_primary_cat":"","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","footnotes":""},"categories":[1],"tags":[],"class_list":{"0":"post-1436","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-uncategorized"},"_links":{"self":[{"href":"https:\/\/wp.unil.ch\/narratologie\/wp-json\/wp\/v2\/posts\/1436","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wp.unil.ch\/narratologie\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wp.unil.ch\/narratologie\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/narratologie\/wp-json\/wp\/v2\/users\/1001953"}],"replies":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/narratologie\/wp-json\/wp\/v2\/comments?post=1436"}],"version-history":[{"count":0,"href":"https:\/\/wp.unil.ch\/narratologie\/wp-json\/wp\/v2\/posts\/1436\/revisions"}],"wp:attachment":[{"href":"https:\/\/wp.unil.ch\/narratologie\/wp-json\/wp\/v2\/media?parent=1436"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wp.unil.ch\/narratologie\/wp-json\/wp\/v2\/categories?post=1436"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wp.unil.ch\/narratologie\/wp-json\/wp\/v2\/tags?post=1436"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}