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The aim of this study is to characterize the structures and terminology used in a corpus of tennis narratives. To achieve this, we constituted a corpus of three television narratives of tennis. Based on studies on sports discourse, we identify the terminology and syntactic structures that characterize the tennis discourse in the television narratives of our corpus. Once we identified the structures, we determine their configuration in order to identify certain syntactic patterns in the discourse of this sports discipline and contrast these patterns with those used in other sports narratives. With this article, we intend to contribute to research focused on sports discourse, in particular studies centred on the syntax of television narratives of tennis. [ABSTRACT FROM AUTHOR]

In this article, I scrutinize the much-discussed "walrus scene" from Netflix's nature documentary Our Planet (2019) for its formal and thematic similarities to weird fiction. I argue that these similarities reveal tensions in how we conceptualize the environment, the human, and the nonhuman. By comparing the narrative strategies in the walrus scene to similar strategies in Jeff VanderMeer's Southern Reach trilogy (2014), I problematize the emergent crosstalk between the weird and the Anthropocene, and the ways in which it mediates the environmental crisis, via concepts such as "Anthropocene horror," "worldwithout-us," and "global weirding.". [ABSTRACT FROM AUTHOR]

The author presents a criticism of the Norwegian television program "SLAM." She mentions the use of social media both within and regarding the program about the lives of teenagers, how the narrative strategy works to include the audience, and the sense of group belonging as a theme in the show.

Opening sequences has been suffered from a transformation process until becoming an integral and integrating part of fictional story. The present text collects a study of the opening of Isabel, Víctor Ros and El Ministerio del tiempo, created by Javier Olivares. A research developed from four main points of work, analysis of formal, narrative, typographic and sound aspects. Through common and dissimilar traits shared with credit titles, it is about proving the relationship with the building process of identity and brand of the audiovisual product as an independent unit from its creator. [ABSTRACT FROM AUTHOR]

Outlining key elements of folk horror, this article discusses the influence of British 1970s television upon post-2000 folk-horror revivalists, arguing that television is of vital importance to social and cultural folklore. With reference to Mikel Koven's 'mass-mediated ostension', this study brings together folkloristics and screen studies, and proposes 'wyrd' as a term to apply to eerie, hauntological media with folkloric themes. Supernatural tropes are examined alongside a case-study analysis of the BBC series Ghost Stories for Christmas to illustrate how folkloric content is represented on screen, and how the eerie atmosphere of 1970s television was created. [ABSTRACT FROM AUTHOR]

This study investigates how audience members relate to and vicariously interact with multiple characters while viewing a narrative. Under the framework of the theory of situation models, we applied a real-time thought-listing technique that incorporated Twitter and focused on three debuting TV dramas to explore how the participants followed multiple characters while watching prime-time television dramas. We examined 3,274 tweets across the three TV series and found that monitoring a greater diversity of characters is associated with an increased number of questions asked and more accurate predictions of future events. The participants who made more accurate predictions had higher narrative engagement. In addition, the participants who had more thoughts about the self tracked a greater diversity of characters and made more accurate predictions about the plot. The results are discussed in terms of the developing literature on narratives in mass communication and entertainment research. [ABSTRACT FROM AUTHOR]

The tagline for Ryan Murphy's American Horror Story: Freak Show (AHS: Freak Show) is 'Wir Sind Alle Freaks', a German phrase that clearly signals the show's 'freaktopic' intention. 'We are all freaks' introduces a narrative that promises to collapse boundaries between the self and other, allowing viewers to see themselves as more like the freakish characters at the heart of Elsa Mars' Cabinet of Curiosities than the outsiders threatening their lives. However, this invitation, combined with the narrative focus on normate characters instead invokes the countercultural appropriation of 'freak' as an anti-establishment rebellion. These narratives provide not a 'freaktopia', but rather an escape, both temporary and permanent, from 'normative' values for non-freakish characters, and an outright rejection of those norms. While this choice seems in some ways informed by contemporary notions of social justice, access, and inclusion, in which the 'normative' characters act in alliance with their underprivileged 'freak' peers, Ryan Murphy's AHS: Freak Show ultimately troubles its very tagline. Through an analysis of the AHS: Freak Show's narrative structures surrounding capital, family, and consumption, I argue that the myth of a 'freaktopia' collapses under the weight of its own neo-liberal dream, and is ultimately consumed by mainstream capital. [ABSTRACT FROM AUTHOR]

The author presents a criticism of Australian films and television programs depicting World War I. He discusses the focus on the campaign in Gallipoli, Turkey, the issue of masculinity as representing the nation in the films and programs, and the sense of subversion in the narrative form.

Numerous studies have demonstrated the power of entertainment narratives to influence attitudes and behaviors; fewer have examined the effects of TV portrayals on attitudes toward marginalized groups. The present study is among the first to explore how entertainment narratives depicting transgender individuals influence viewers’ attitudes toward transgender people and related policies. The study examines the impact of exposure to a TV storyline on Royal Pains (USA Network) and cumulative effects of viewing other TV series featuring transgender individuals. An online survey of 488 U.S. viewers of Royal Pains was conducted (391 had seen the relevant episode). ANCOVAs revealed exposure to both the Royal Pains’ storyline and other storylines portraying transgender individuals were associated with more supportive attitudes toward transgender people and policies. Mediation models revealed that for viewers of the Royal Pains’ storyline, the relationships between political ideology and attitudes toward transgender people and policies were mediated by identification with the main characters and the emotion of hope. Disgust mediated viewers’ attitudes toward transgender people, but not policies. Post hoc analyses revealed that exposure to transgender narratives reduced the influence of viewers’ political ideology on their attitudes. The attitudes of more conservative viewers became increasingly positive as they saw more media portrayals of transgender individuals. These findings highlight the potential for entertainment narratives to influence attitudes toward marginalized groups, and they demonstrate the importance of emotion in the context of divisive topics. Social, political, and public health implications are discussed. [ABSTRACT FROM AUTHOR]

Jason Mittell argues that contemporary television narrative is marked by degrees of both structural and consumptive complexity. One way he addresses this complexity is through the concept of drillability, which he describes as “a mode of forensic fandom that invites viewers to dig deeper, probing beneath the surface to understand the complexity of a story and its telling.” This essay analyzes a particular episode of CBS’s The Good Wife (2009–2016) to extend Mittell’s concept of drillability and to explore its theoretical links to Mikhail Bakhtin’s “dialogic imagination.” In doing so, the essay argues that “producer-fans” model modes of critical media consumption required by an informed and engaged citizenry. [ABSTRACT FROM AUTHOR]

This article discusses three strategies that TV shows have increasingly employed in recent years to produce what Jason Mittell, in an essay that marked the beginning of his thoughts on the issue, has called "narrative complexity": unreliable narration, counterfictional scenarios, and ellipses and anachronological narration. It uses the last minutes of "The Wheel," the final episode of the first season of AMC's Mad Men (2007-15), as its primary example. More specifically, this article proposes three different interpretations of the final moments of that episode. These readings have in common that they underline one of Mittell's central claims, namely that serial television shifts comprehension processes toward conscious hypotheses in what he describes as "operational aesthetic." However, the article will also assume a broader perspective throughout and demonstrate that the three interpretations it develops are instances of more widely spread phenomena that merit far more attention than a single article can provide. Thus, the article offers, on the one hand, a close reading of an episode of Mad Men against the background of the early seasons of the show, but, on the other, it also identifies three topics for further fruitful research on television narrative more generally. [ABSTRACT FROM AUTHOR]

The article examines the narrative strategies used in television series, focusing on how narrative time gradually builds and extends rather than moving in a linear fashion. Particular attention is given to how this is used to combine multiple storylines as the author cites the series "Orange Is the New Black" as an example of a chronotopic development of narrative.

In this article, I examine the television comedy of the late 1960s, with a focus on the duo Konto 55-gō. Through analysis of some of the critical and popular reception of the duo, I argue that their meteoric rise reflected a watershed moment in the history of Japanese television, as the medium discovered an aesthetic that, uniquely its own, positioned the affective alongside the visual. Numerous accounts from the era emphasized the pair's speed, as well as their tendency to disregard the conventions of the industry and characterized their energy as one that seemed to "burst out" from the frame. This reputation, I demonstrate, laid the foundation for a narrative, in which the pair were portrayed as ushering in a new epoch of television. Konto 55-gō, according to this narrative, had overcome the boundaries of the television apparatus and forged a direct and immediate connection with viewers. Exploring several facets of this narrative as well as its resonance with contemporary trends in Japanese television, I consider in conclusion the role that the live audience laughter of Konto 55-gō's performances played within it. Characterized as being as raucous and uncontrollable as the duo itself, that laughter served within the discourse on the pair as both a vehicle for the affective connection that they created with viewers and synecdoche for the sensibilities of a vast mass audience that extended beyond the studio. [ABSTRACT FROM AUTHOR]

In the most recent serial fiction the hero is markedly different. The main characters of the latest series almost always have a feature that is far from the classical virtuosity, an element of strangeness, often asocial. This article aims to show that in the U.S. television drama of the last ten years the hero progressively acquires new features that not allow the normal interaction with the world around him. The characteristics of this type of character, away from traditional narrative standards are diverse, but all of them are typical of the known as freak. [ABSTRACT FROM AUTHOR]

This essay examines the slash community surrounding the television series Smallville. Utilizing textual data, audience survey responses, and fan ethnography, I locate the performance of homoeroticism in Smallville and highlight important (sub)textual moments of the series as recounted by participants. These observations reveal important implications concerning the performative capabilities of narrative, the cultural significance of this particular Superman retelling, and the influence of textual intent on subcultural practices related to the gay, lesbian, bisexual and transgender community. In essence, slash fans create an alternative vision of television narrative by marking each characters' actions as homoerotic, which is rearticulated by the writers, directors and actors of the series. This interplay illustrates the changing nature of television narrative, where text, audience and production are inseparable when analyzing media artifacts. [ABSTRACT FROM AUTHOR]

It is proposed to explore the role played by the witness in journalistic narratives. We seek to understand these narratives in their work of mediation of suffering caused by events on individuals. The paper addresses the witness both in the form of rhetorical artifice founded on the claim of journalistic veracity - under the shade of the problem of information sources - as in the ethical implications raised by the narration of the experience of subjects suffering - in which the phenomenon of witness refers not only to the attestation, but mainly to the encounter with the other, made possible by journalism. For this, we used examples of television narratives, considered singular instances of inquiry about the journalistic statute of witness. [ABSTRACT FROM AUTHOR]

This article intends to discuss how narratives are constructed media about the strike. So let's use the example of a story broadcasted by Jornal Nacional, of Rede Globo network, on November 26, 2010, on the stoppage of bus drivers and conductors of Vitória (ES). The discussion here attempts to show that these events in order to present the "reality", are processed in news endowed with meanings that, in turn, reshapes the journalistic event (their conflicts, their characters...). Through the pragmatic analysis of the newspaper story noted that the conflicts between capital and labor are a reflection of systematic and complete by feeding back important social consensus on the issue. [ABSTRACT FROM AUTHOR]

Which is the actual relationship between net and television? Could we fi nd a point of contact between linear narration and hypertext? The last decade has brought about some radical changes: new ways of broadcasting the signal have been introduced, as well as new protocols containing new specifi cations about audio/video quality. One hour after the most signifi cant TV programmes have been broadcast locally, they are made available on the p2p networks to the whole world. [ABSTRACT FROM AUTHOR]