This collective book analyzes seriality as a major phenomenon increasingly connecting audiovisual narratives (cinematic films and television series) in the 20th and 21st centuries.
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.
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 Fargo, Twin Peaks, The Hunger Games, Bates Motel, and Sherlock.
Table of Contents
Introduction: Cinematic, Televisual or Post-Serialities
Ariane Hudelet and Anne Crémieux
Part 1: Serial Specifities
1. Opening Gambits: Cross-Media Self-Reflexivity and Audience Engagement in Serial Cinema, 1936-2008
Felix Brinker and Ilka Brasch
2. Ensemble Storytelling: Dramatic Television Seriality, the Melodramatic Mode, and Emotions
E. Deidre Pribram
3. The Cinematic-Televisual: Rethinking Medium Specificity in Television’s New Golden Age
Part 2: Marketing Seriality
4. A Forgotten Episode in the History of Hollywood Cinema, Television and Seriality: The Case of the Mirisch Company
5. Diversions in the Hunger Games Film Series: The Fragmented Narrative of Hijacked Images
6. Raising Caine: Hollywood Remakes of Michael Caine's Cockney Cycle
Part 3: Seriality and the Cinematic/Televisual Convergence
7. The (Re)Making of a Serial Killer: Replaying, “Preplaying” and Rewriting Hitchcock’s Psycho in the Series Bates Motel
8. Fargo (FX, 2014-) and Cinema: “Just Like in the Movie”?
9. Screening Dreams: Twin Peaks, from the Series to the Film, back again and beyond
Part 4: Meta-Serialities
10. In-between Still and Moving Pictures: Series and Seriality in Stephen Poliakoff’s Serial Drama Shooting the Past (1999)
11. “The Abominable Bride” (Douglas Mackinnon, 2016): Sherlock and Seriality
12. Subject Positions and Seriality in The Good Wife
Ariane Hudelet is Associate Professor at Université de Paris (LARCA/CNRS), where she teaches English literature and Visual Culture. After working on film adaptations, she 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.
Anne Crémieux is Associate Professor of American studies at Université Paris Nanterre (CREA). She has published books, articles and book chapters on the representation of minorities in cinema and television.