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Copyright of Issues in Ethnology Anthropology is the property of Issues in Ethnology Anthropology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Issues in Ethnology Anthropology is the property of Issues in Ethnology Anthropology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Society & Leisure / Loisir & Société is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

HBO's global success, Game of Thrones (2011–2019), is known for having an active international fan base. In this qualitative interpretive study of the show's reception in Spain, Germany, and Argentina, I examine themes emerged from interviews with twenty-one viewers. I interpret their readings on the series together with online and offline engagement practices. Rather than marked cultural contrasts, the study identifies common patterns across nations: varying degrees of analytic and emotional engagement leading to diverse fan subjectivities within their "locality." Theoretically, I draw from Mittell as well as Jenkins et al. to argue how GoT provides an arena for casual viewers and die-hard fans to move on both axes of engagement: drillability and spreadability. To finalize, I reflect on dominant academic discourses that reinforce notions of proper fandom and propose to apply anthropology's cultural relativism and respect for the emic perspective to acknowledge agency. [ABSTRACT FROM AUTHOR]

The first episode of Narcos, the Netflix TV series inspired by the life of Pablo Escobar, begins with the programmatic intertitle: 'Magical realism is defined as what happens when a highly detailed, realistic setting is invaded by something too strange to believe. There is a reason why magical realism was born in Colombia'. It is this 'too strange to believe' philosophy of the gaze that underlies the United States–Brazil–Colombia co-production series echoing the Drug Enforcement Administration version of events, commodifying the rise of Colombia's drug economy for global audiences. Narcos places more value on realism than it does on the magical (although the two poles of attraction are inseparable, mutually enriching each other). The shift towards the insertion of heavy doses of non-fiction in the TV series is worth the utmost attention because it opens the way to a consideration of the differences between outsider and insider perspectives on culture and race, and the way they emerge on-screen. Magical realism in Narcos is also a tool to unmasks the war on drugs as a US hidden agenda to create antagonism. After 1989, an intensification of the rhetoric against narco-traffic became a pretext to respond to the upcoming geopolitical tensions, while simultaneously perpetrating the structural domination typical of the Cold War era. [ABSTRACT FROM AUTHOR]

The Transformers franchise is one of the highest-grossing intellectual properties of all time, mostly because of the successful marketing and advertising strategy called toyesis (Jason Bainbridge's term). Toyesis is a kind of symbiosis between toy market and cultural products, such as cartoons and comics, in which the latter creates an urge of having a new toy, sales of which in turn help finance the whole system. A series of legal decisions and regulations in the 1980s United States made an uncontrolled toy advertising in TV shows possible, and the Transformers franchise (and its owner, the Hasbro company) exploited it without hesitation. But to do so, their contractors (writers, animation studios, etc.) encountered an issue regarding how one can adapt a toy into a cartoon. The article focuses on the strategies of remediation, reconfiguration and incorporation of a toy material into storytelling media, especially into a cartoon. Using Marsha Kinder's concept of entertainment system, it also examines which strategies reinforced the advertising potential of this material, often without children realizing that they, in fact, watch a sophisticated commercial. [ABSTRACT FROM AUTHOR]

Copyright of International Anatolian Journal of Social Sciences / Uluslararasi Anadolu Sosyal Bilimler Dergisi is the property of Uluslararasi Anadolu Sosyal Bilimler Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Analyzing in detail the US distribution path of The Young Pope, co-production between Sky, Hbo and Canal+, the article intends to demonstrate how in its American circulation this “Italian” television fiction has dialogued with a distinct media system and was re-packaged to meet the expectations of a different audience. From the promotional campaign to the creation of hype even before airing, from the scheduling choices to ratings data, from the US vision of the production process and of its costs to critical and media reception, and to the first steps of the sequel The New Pope, it is highlighted how the co-production status is renegotiated according to the logic of a different destination context, limiting as much as possible the “Italian” components. The case study also offers the chance for general thoughts on the recent international development of Italian TV fiction and on its effects, not always foreseen.

The article focuses on the international reception of the first season of the TV series L’amica geniale (My Brilliant Friend, 2018-). This Italian media product has been distributed and circulated in numerous countries around the globe as the television adaptation of the first book of Elena Ferrante’s bestselling Neapolitan Novels. Generally, the forms of representation and narration of Italianness in Italian TV series that circulate abroad present two distinctive traits: on the one hand, they feature a globally recognizable image of Italian identity and culture, and on the other hand, they narrate stories that are deeply rooted in Italian local contexts. L’amica geniale places in the middle of this spectrum. The aim of this article is to discuss how the audience of the tv series contributes to defining its identity as a transnational/Italian cultural product by fostering symbolic processes often in tension with each other. L’amica geniale appeals to the foreign public both due to its local features, that is, by presenting elements that can be easily traced back to Italian history and culture, and because it can be inscribed within the broad label of quality tv.

The genre of dystopia is not among the most highly rated, since its character is usually critical and not entertaining. This is why the phenomenon of a growing number of dystopia remakes in the entertainment media industry is of scientific interest. Traditionally, dystopia was aimed at actualizing political problems related to the interaction between a state and a person. Apparently, contemporary totalitarianism is acquiring new features and is no longer a specific organization of state power in a particular country, but is associated with globalization, the development of macro-businesses and digitalization. Totalitarianism is being transformed from a political category to an economic one; consumerism in a society does the same in culture and art, which signs the French philosophers have been noticing since the second half of the 20th century. The question to be answered is whether the genre of dystopia in modern screen culture fulfills its function—critical evaluation of the modern totalitarianism. The research concerns an adaptation of F.K. Dick’s The Man in the High Castle. The analysis, however, is not cinematic, but cultural, as it is carried out in the context of the general socio-economic situation and the interpretation of the global digital macroeconomics as a possible manifestation of modern totalitarianism. In cultural analysis, a separate screen work becomes a manifestation of various tendencies, therefore, the study uses theoretical material from different areas such as existential philosophy of the twentieth century, Chinese philosophy, as well as sociopolitical criticism of the modern society. The methodology of reasoning in this context cannot be reduced only to the analysis of the film, but should be based on the principle of hermeneutic circles, since both the book and the series contain several semantic layers that must be correlated with the general cultural context. The author concludes that due to the economic and political pressure on the media industry, the processes of globalization and neoliberal “totalitarianism”, mass film products are frequently turning into certain clichés and ideological models, which is in itself a well-disguised dystopia. Статья посвящена жанру антиутопии, который не входит в число самых рейтинговых, так как предполагает, скорее, не развлекательный, а критический характер. В связи с этим феномен повторных экранизаций антиутопий в современной развлекательной медиаиндустрии представляет интерес для исследования. Традиционно антиутопия была направлена на актуализацию политических проблем, связанных с взаимоотношениями между государством и личностью. Вероятно, современный тоталитаризм приобретает новые черты и уже не является специфической организацией государственной власти в конкретно взятой стране, а связан с глобализацией, развитием макробизнеса и цифровизацией. Тоталитаризм трансформируется из политической в экономическую категорию, как и сфера культуры и искусства в условиях общества потребления, о чем писали французские философы, начиная со второй половины ХХ века. Выполняет ли жанр антиутопии в современной экранной культуре свою функцию критического анализа современного тоталитаризма — вопрос, на который предполагается ответить в данной статье. Исследование касается конкретной экранизации произведения Ф.К. Дика «Человек в высоком замке», однако анализ является не киноведческим, а культурологическим, так как проводится в контексте общей социально-экономической ситуации и трактовки глобальной цифровой макроэкономики как возможного проявления современного тоталитаризма. В культурологическом анализе отдельное экранное произведение становится проявлением различных тенденций, поэтому в исследовании задействован теоретический материал из разных областей, таких как экзистенциальная философия ХХ века, китайская философия, а также социополитическая критика современного общества. Методология рассуждений в данном контексте не может сводиться только к анализу фильма, а должна строиться по принципу герменевтических кругов, поскольку и в книге, и в сериале заложено несколько смысловых пластов, которые необходимо соотнести с общим культурным контекстом. Автор приходит к выводу, что из-за экономического и политического давления на медиаиндустрию, процессов глобализации и неолиберального «тоталитаризма», массовый кинопродукт часто превращается в определенные клише и идеологическую матрицу, что само по себе представляет собой хорошо замаскированную антиутопическую модель.

Contemporary series productions are modern TV forms, which are undergoing transformation both in terms of structure and conveyed messages. They communicate certain categories of values, such as: informative-educational, ethical-moral, educational-psychological and social-cultural. This paper was based on analysing the phenomenon of contemporary TV series forms in the context of value message. The subject of the study were contemporary foreign TV series. Moreover, it is an attempt at confirming the thesis about communicating certain categories of values.

Introduction: One of the important functions of television is its discourse function. Television, through the production of cultural texts, represents and reproduces the discourses that govern society. One of the discourse texts that plays an effective role in the representation of discourse is TV series. TV series as one of the popular genres has attracted a large audience and is one of the suitable formats for representing and reproducing values ​​and discourses. Television, as an ideological device, tries to dominate a certain discourse through these serials by naturally showing some actions and attitudes, and introduce this discourse to its audience as a common custom. Examining how the family discourse is constructed and how certain elements of it are highlighted on television, and whether the represented discourse seeks to induce what interpretation or construction of the family is an issue that needs to be considered. In this regard, the main purpose of the present study was to investigate the dominant discourse of the family and its harms, which was done using the method of Laclau and Mouffe discourse analysis. Materials and Methods: In the present study to answer the research question, the method of discourse analysis (with emphasis on the analysis of Laclau and Mouffe discourse), which is one of the important approaches of representation theory, was used. It should be noted that the choice of a series for discourse analysis depended on the existence of specific features of discourse in that series. These characteristics were the existence of different discourses, delimitation of discourse boundaries, open conflict between discourses, and the social consequences of each discourse. Also, being popular, focusing on family issues, focusing on social realities related to this phenomenon such as (divorce, violence, generation gap, value and semantic conflicts, the vulnerability of private territory, weakening family institution and emotional transformation such as loyalty and intimacy) and serial role in stirring up a public debate on the subject of the individual and the family has been a hallmark of serial selection. For this purpose, an attempt was made to first identify the discourse relationship represented in the film, which aims to identify the central points, articulate, and determine the rival discourses, and then we have sought to end the discourse confrontation. Finally, the relationship of the represented discourses with the text (social context) is discussed. Discussion of Results and Conclusions: The discourse analysis of this series showed that in this series, two types of families in transition and the traditional family were represented. The transition family represented in this series has features such as core family, romantic love, non-constructive problem-solving style, filial piety, neutralization of abnormal and high-risk behaviors, resentment, and unforgiveness. Among the main characteristics of the Satani family were characteristics such as extended family, patriarchy, severe family prejudices, non-constructive problem-solving style, support and advocacy, collectivism, and family orientation. The subject of this series is one of the main challenges of our current society because, in the field of the role of the family in the social order, there are different discourses in the society that have confused families. In the series ‘Under the Foot of Mother’, the two discourses of the traditional family and the family in transition are presented, each with their elements and moments. But in the end, after many struggles between these two discourses, everything ends in favor of the traditional discourse. The series leads us to rejoin a traditional family gathering, albeit with a more or less new definition.

Watching television is a free time activity that people prefer significantly. Studies have shown that television has certain effects on people. Archery is an important sport in Turkish society. In this study, it is aimed to examine the relation between people's orientation to archery and television series. Qualitative research method was applied in the study. Purposeful sampling method was used to determine the sample. The sample of the study covers the archers-themed series audience who has been receiving archery training in the Okçular Vakfı (Foundation) and İBB (The İstanbul Metropolitan Municipality) Spor İstanbul both of which are located in İstanbul. The sample consists of26 people between the ages of 9-17 and 18-65. Semi-structured interview was used as the data collection technique. The results were classified under; “Demographic characteristics of the participants”, “meeting archery and starting archery”, “meanings of archery, reasons for interest and orientation to archery”, “interest in archery-themed series”, “orientation to archery through series”, “heroes in the series and the identification effect”, “on archery future plans and expectations” titles. According to the results obtained; Archery themed series such as Tozkoparan and Diriliş: Ertuğrul enables the participants to meet archery. The series in question appeared to be watched by the participants with great interest. TV series such as “Tozkoparan” and “Diriliş: Ertuğrul” have a great influence on the orientation of a significant part of the participants to archery. Its directing effect to archery sport is low in some participants whereas it is significant in most participants. It is seen that the participants want to be archers like the characters in these series, they use the techniques they learn from the characters, they try to shoot arrows by watching television and exhibit such identification behaviors. In addition, the participants have been found to have plans to become a trainer, to be an athlete and to continue as a hobby. In the final analysis, the results we have obtained in our study reveal that TV series with themes related to Archery and other branches of sports such as “Tozkoparan” and “Diriliş: Ertuğrul” have the potential to encourage people of all ages to sports and have a stimulating potential. We think that increasing the number of television series covering themes related to developing sports branches that are not as mediatic as desired will be functional in increasing popularization and awareness levels of amateur and developing sports branches.

This article examines the Norwegian climate fiction television series Okkupert [Occupied] (2015–), focusing on the ways in which it reveals the complicity of Nordic subjects in an ecological dystopia. I argue that in illuminating this complicity, the series reimagines the Norwegian national self-conception rooted in a discourse of Norway's exceptionalist relation to nature. I show how Norway's green (self-)image is expressed through what I call “white ecology” – an aesthetics of whiteness encoded in neoromantic mountainous winter landscapes widely associated with the North, but also in the figure of the Norwegian white male polar explorer. I argue in this article that Occupied challenges this white-ecological masculine discourse through “dark ecology” (Morton, 2007), embodied by Russia and expressed by the avoidance of spectacular landscape aesthetics as well as by the strategy of “enmeshment”, facilitated by the medium of televisual long-form storytelling and the eco-noir aesthetics.

The article analyzes the phenomenon of increased interest among the modern mass recipients in cultural artifacts that simulate various models of the phantom past, and in new ways of constructing it. Falsification of history for various purposes has been existing for a long time, but lately, the ways of presenting inaccurate versions of historical events have found a particularly sharp response from the audience. Beginning as conspiratorial literary and journalistic experiments to “rip off the veils”, phantom story models are now most successfully overspread in the form of amateur video content. Modern large-scale filmmaking, following the trend, also increasingly claims the authenticity of the depicted historical periods and events. An example of such approach is the careful study of the nuances of the texture that surrounded the Soviet people in the mid-80s in the series Chernobyl (directed by Johan Renck, USA, UK, 2019), which received a great response in the media space. The slogan of the film is “What is the cost of lies?” and its main message is the claim to the need of revealing the truth to the mass audience. As techniques aimed at creation of the authenticity illusion the series primarily uses the accuracy of details, costumes, make-up, decorations, which scrupulously reconstruct Soviet life in the eighties. The global plot and many subplots also generally correspond to the facts that happened in reality. Another technique of the series being traditional for the mockumentary genre which increases the recipient’s trust in the media product is the shaky camera. Imitation of amateur filming allows achieving a greater effect of involvement of the modern mass audience. Such techniques inspire confidence in the media product, reducing the criticality of its perception as a whole. However, after a detailed examination of the plot moves, it turns out that some of the events reflected in the series are presented perversely and one-sided, while others are in stark contrast to those that actually took place. In addition, the use of other artistic techniques such as, for example, specific color correction, stable cinematic clichés for the heroes’ characteristics, up to the frame structure, allow us to talk about imparting a biased meaning to the events. Thus, responding to the request of the mass audience, the authors create artifacts in which the accuracy in displaying fine details creates a feeling of authenticity, and the biased interpretation of the narrative, which uses specific artistic techniques, makes it possible to broadcast stories that are far from the historical truth. Such approaches make it possible to talk about the formation of new ways of constructing alternative historical models that inspire confidence in the mass audience. Статья посвящена анализу феномена повышенного интереса современного массового реципиента к культурным артефактам, моделирующим различные модели фантомного прошлого, и к новым способам его конструирования. Фальсификации истории в различных целях существовали долгое время, но в последнее время способы подачи недостоверных версий исторических событий находят особенно острый отклик у зрительской аудитории. Начавшись как конспирологические литературно-публицистические эксперименты по «срыванию покровов», в настоящее время модели фантомной истории успешнее всего распространяются в формате видеоконтента, создаваемого любителями. Современное крупное кинопроизводство, следуя за трендом, также все больше претендует на достоверность изображаемых исторических эпох и происходящих событий. Примером этого может служить тщательная проработка нюансов фактуры, окружавшей советского человека в середине 80-х годов, в сериале «Чернобыль» (реж. Йохан Ренк, США, Великобритания, 2019), получившего большой резонанс в медийном пространстве. Слоганом фильма является «Узнай цену лжи» и основным его посылом является претензия на необходимость открывать правду массовой аудитории. В качестве приемов, работающих на создание иллюзии достоверности, в сериале в первую очередь используется скрупулезная точность деталей, костюмов, грима, декораций, действительно точно воссоздающих советский быт восьмидесятых. Глобальный сюжет и множество побочных сюжетных линий также в целом соответствуют фактам, происходившим в действительности. Еще одним из приемов, традиционных для жанра мокьюментари и повышающих доверие реципиента к медиапродукту, использованным в сериале, является shaky camera. Имитация любительской съёмки позволяет достигать большего эффекта вовлечения у современного массового зрителя. Такие приемы вызывают доверие к медийному продукту, снижая критичность восприятия его в целом. Однако после подробного рассмотрения сюжетных ходов выясняется, что одни отраженные в сериале события подаются искаженно и однобоко, а другие — сильно расходятся с действительно имевшими место. Кроме того, использование других художественных приемов, таких как, например, специфическая цветокоррекция, устойчивых кинематографических штампов для характеристик героев, — вплоть до построения кадров, — позволяют говорить о придании происходящим событиям тенденциозной окраски. Таким образом, отвечая на запрос массового зрителя, авторы создают артефакты, в которых точность в отображении мелких деталей создает ощущение достоверности, а пристрастное освещение повествования с помощью специфических художественных приемов позволяет транслировать сюжеты, далёкие от исторической правды. Подобные подходы дают возможность говорить о формировании новых способов конструирования альтернативных исторических моделей, вызывающих доверие у массового зрителя.

In this article we study forms and methods used to popularize western classical music in a South Korean TV series. The main subject of analysis is the TV series Beethoven Virus (2008) devoted to a symphony orchestra in a fictional South Korean city. The main purpose of this TV series is the promotion of classical music, and the author of the article comes to the conclusion that its popularity among Korean audience is explained by its engaging, convincing artistic methods with respect to national cultural specificities, which were used to show the working environment of professional musicians. The series reveals real problems of modern Korean musical culture: “crisis of overproduction” of academic musicians; discrimination of graduates of South Korean musical educational institutions; prejudice that classical music is only for the rich. The author emphasizes that immersion into the atmosphere of professional musical life allows the viewers to apprehend the educational value of the TV series more clearly. Beethoven Virus demonstrates traditional Korean attitude towards European classical music determined by the Confucian roots; and at the same time, it depicts changes in the modern culture conditioned by gradual departure from traditional values. The two main characters — the young and the old conductors — symbolize the old and the new in the Korean musical culture. They interact in a traditional eastern way: the new spirit does not openly conflict with the established convention, but sprouts from it. The author suggests that the music is explained in the film through emotional associations which let the viewers fully perceive the musical idea. The author believes that this method, compared to other ways widespread in the West, corresponds to the nature of the specific sensation of European classical music associated with Confucian cultural roots. An opinion is expressed that methods of music education used in Beethoven Virus were chosen in accordance to the South Korean serial genre traditions: leitmotivs in the soundtrack and gesture clichés are of particular significance here. The author suggests that the South Korean experience of promoting musical classics by means of serial films can be used abroad — given that the differences in mentality and realities of musical life are taken into account. В статье рассмотрены формы и методы популяризации западной классической музыки в южнокорейских телесериалах. Главным объектом анализа стал сериал «Вирус Бетховена» (2008), посвященный судьбе симфонического оркестра в вымышленном южнокорейском городе. Констатируя, что популяризация музыкальной классики стала одной из важнейших целей создания этого сериала, автор приходит к выводу, что ее успех у массовой корейской телеаудитории обусловлен прежде всего тем, что здесь привлекательно, художественно убедительно и с учетом национальной специфики показана атмосфера профессиональной деятельности академических музыкантов. В сериале показаны реальные проблемы современной корейской музыкальной культуры: «кризис перепроизводства» академических музыкантов; дискриминация выпускников южнокорейских музыкальных учебных заведений; распространенность предрассудка о предназначении музыкальной классики исключительно для богатых. Автор подчеркивает, что погружение в атмосферу профессиональной музыкальной жизни позволяет зрителю яснее воспринять просветительское содержание сериала. Утверждается, что в «Вирусе Бетховена» отразилось традиционное для Кореи отношение к европейской музыкальной классике, связанное с конфуцианскими цивилизационными корнями, и в то же время выявлены перемены в современной культурной ситуации, обусловленные постепенным отходом от традиционных ценностей. Это воплощено в образах двух главных героев-дирижеров — старшего и младшего — символизирующих «старое» и «новое» в корейской музыкальной культуре. Их взаимодействие происходит в соответствии с традициями Востока: новое открыто не конфликтует со старым, а скорее зарождается в нем. Автор высказывает мнение, что основной метод объяснения музыки в сериале — поиск близких и понятных зрителю эмоциональных ассоциаций, дающих возможность ярче воспринять музыкальное содержание. Этот способ, с его точки зрения, в большей степени, чем иные методы, распространенные на Западе, соответствует природе национального ощущения европейской классической музыки, связанного с конфуцианскими культурными корнями. Утверждается, что формы музыкального просвещения в «Вирусе Бетховена» во многом обусловлены художественными приемами, присущими южнокорейской трактовке сериального жанра: особое значение имеет система своего рода «лейтмотивов» в саундтреке и «жестовые клише». Высказано предположение, что южнокорейский опыт популяризации музыкальной классики посредством сериального кинематографа может быть использован и за пределами страны — при непременном учете различий в менталитете и реалий музыкальной жизни.

Audiences’ TV series entertainment experiences are increasingly shaped not only by the events on the ‘first screen’ but also by discussions on social media. While an extensive body of research has examined practices of ‘second screening,’ especially on Twitter, online discussions before and after the live broadcast and on other platforms have received less attention. On Reddit—one of the most important platforms for Social TV—discussions often take place in temporally structured threads that allow users to discuss an episode before (pre-premiere thread), during (live premiere thread), and after (post-premiere thread) it airs. In this project, we examine whether these spaces mainly indicate temporal preferences among users or are associated with different usage practices and motives. To do so, we conducted two case studies of the Reddit community r/gameofthrones: a survey about usage motives (n = 417) and an automated content analysis of approximately 1.2 million comments left on the episode discussion threads in which we examined thread use over time, interactions between users, and discussion content. The results revealed differing usage motives and practices for the three thread types, illustrating the distinct function that these communication spaces fulfil for users.

Televizyon, insanların hayatına girdiği ilk günden bu yana, onların üzerindeki etkisini artırmış ve gerçeklik kavramsallaştırmalarında birincil kaynakların önüne geçmiştir. Televizyondan yansıyan imajlar ise toplumda kimin, hangi grupların, ya da değer yargılarının önemli olduğunu insanların bilincine ekerek; egemen bağımlı ilişkilerinin değişmez, değişse de yerine daha kötüsünün geleceğinin içselleştirilmesinde aktif olarak rol almıştır.Bu çalışmanın konusunu, Türkiye’deki televizyon izleyicisinin, haberlerden sonra en çok tercih ettiği program türü olan televizyon dizilerinin içeriği oluşturmaktadır. Bu anlamda çalışmanın amacı, televizyon izleyicisine ne tür bir dünya tasviri sunulduğunu ortaya koymaktır. Bu amaçla en çok reyting alan 7 ulusal televizyon kanalının prime- time kuşağında yayınlanan 24 dizi, George Gerbner’ın 1960’ların sonunda oluşturduğu Kültürel Göstergeler Projesinin ikinci aşaması olan Mesaj Sistem Çözümlemesine tabi tutulmuştur. Çözümleme sonucunda Türkiye’de prime-time’da yayınlanan dizilerde, ABD’deki televizyonların egemen içeriğini temsil edecek şekilde, şiddetin yoğun olarak kullanıldığı, yaşlıların ve toplumda yer alan bazı grupların görmezden gelindikleri ve toplumdaki oranlarıyla kıyaslandığında cinsiyet, yaş gurubu ve sosyo-ekonomik statülerden oluşan çeşitli grupların son derece orantısız olarak temsil edildikleri; bir diğer ifade ile bu dizilerin gerçekliğin çarpıtılmış bir resmini sundukları bulgulanmıştır.

The article aims at analyzing the regional consumption of mainstream Italian seriality covering a period of four years (2016-2019). It underlines the great heterogeneity of “fiction” consumption throughout Italy, and demonstrates how the correlation between national and regional success is often subject to the influence of factors that can produce anomalies. The most important factors responsible for anomalies appear to be the regions where the series are set, and the broadcasting channels. The article also tries to compare and quantify such phenomena, in order to understand how the national success of Italian fiction can benefit from the polarization of consumption happening in the various regions of the Country.

For the first time in television history, Shonda Rhimes, a Black female showrunner obtained an entire prime time programming block on American broadcast television. She has been recognized as one of the most successful and influential TV showrunners and her shows are celebrated for promoting a strong feminist agenda that tends towards equality regardless of gender, race, class, religious belief or sexual orientation. Concentrating on ABC’s prime time night "Thank God It's Thursday", our analysis focuses on Grey's Anatomy (ABC, 2005-), How to Get Away with Murder (ABC, 2014-) and Scandal (ABC, 2012-2018), respectively a medical, a legal and a political drama. The main goal of the paper is to propose a hybrid methodology, that moves at the intersection of several approaches to investigate which aesthetics, identities and relationships of race and womanhood are represented in these three case studies.

The article is devoted to the problem of ambiguity in the assessment of the mythological characteristics of the TV series. The purpose of the article is to establish functions inherent in the TV series, which reveal its mythological potential. Methodological approach of post-structuralism was applied to various cultural forms as texts to be interpreted, therefore, TV series were considered as signifiers representing mythological significance. The audience usually perceives TV series as the traditional myth, emotionally experiencing it as a holistic semantic system in which meaning is inextricably linked to the form, therefore it is perceived as a reality. It is established that the regular repetition of the series in the broadcast TV networks demonstrates its paradigmatic level of signification and gives it a normative function. The novelty of the study is to identify the functional strength of the mythology of TV series, which consists not only in creating an atmosphere of aesthetic exchange of values in the communicative process but also in the norming of living space (symbolic-normative function), creating a virtual space for fantasy experience of unconscious meanings and desires (social-compensatory function) and socialization of individuals (integration function). We can conclude that the mythology of the series can be enhanced in two ways – due to the normative-ritual function of series, which is achieved by regular repetition, and, in turn, affects the integrative function and due to the fantasy content of the TV series. This feature largely reveals the socio-compensatory function of the TV series, which is most realized in fantasy series, and given that the spectator is experiencing their own desires, we can talk about the experience of individualized myth.

This article attempts to identify the signs by which the fantasy genre is recognized. Whether in verbal texts or cinema, such generic signs, like signs of “the fantastic” in general, are difficult to be determined precisely. The subjects of this analysis are TV series and how they communicate with their audience. We consider the problem of generic signs in TV production in the context of historical and cultural features of the Republic of Korea. The present article focuses on two recent TV series, Dokkaebi and Hwayugi, both examples of so-called “urban fantasy”, set mainly in the capital, Seoul, in the present day. On the one hand, the audience for Korean fantasy would expect to see many original, vividly realized characters associated with the mythology of the region. On the other hand, the specificities of Korean religious culture, the influence of shamanism on everyday life (which is hard to be evaluated objectively), and the nature of some neo-Confucian customs complicate the traditional, albeit conditional, “western” oppositions of “natural” to “supernatural”, “ordinary” to “miraculous”. In search of “the fantastic” in the South Korean series, the article turns to the narration itself focusing on what combinations of visual and textual components allow the audience to recognize “the fantastic” and identify the characters in the series as inhuman beings, despite their contemporary costumes, and above all considers the transformations that the 21st century metropolis has to undergo in order to become a special habitat for deities and demons which at the same time can facilitate their interaction with human characters. Статья направлена на уточнение признаков принадлежности произведения к жанру фэнтези. Эти признаки, как и признаки фантастического в целом с трудом поддаются точному определению и в вербальных текстах, и в кинематографе. В данном случае объектом анализа становятся телевизионные сериалы с их специфическим способом взаимодействия с аудиторией. А поскольку речь идет о сериалах производства Республики Корея, это позволяет рассмотреть проблему признаков жанра в контексте историкокультурных особенностей страны. Сериалы «Токкэби» и «Хваюги», ставшие предметом разбора, относятся к так называемому «городскому фэнтези», основное время их действия — наши дни, а место — столица страны, Сеул. С одной стороны, аудитория может ожидать от корейского фэнтези ярких впечатлений и оригинальных персонажей, связанных с мифологией региона. С другой — особенности корейской религиозной культуры, с трудом поддающиеся объективной оценке влияние шаманизма на повседневную жизнь и характер некоторых неоконфуцианских обычаев ставят под сомнение традиционное, хотя и условное, «западное» противопоставление «естественного» и сверхъестественного», «чудесного» и «обыденного. В поисках «фантастического» в южнокорейском сериале статья обращается к нарративу как таковому. В центре внимания — сочетание визуальной и содержательной составляющих, которые позволяют аудитории телесериала узнать в нем фэнтези, а в персонажах, одетых в современные костюмы — нечеловеческие существа. И прежде всего — это те трансформации, которым подвергается мегаполис XXI в., чтобы превратиться в особую среду обитания для божеств и демонов и в место, где возможно их взаимодействие с персонажами-людьми.

The purpose of this paper is to explore the aesthetic and narrative design of the TV series Riverdale (The CW, 2017-), where fashion, visual splendor and coolness do legitimate a seemingly non-sense narratives and ultimately contribute to produce cultural and social value. First, we contextualize Riverdale in the production ecosystem of the youth-geared network The CW. Second, we dwell on the concepts of retro and coolness to understand the mechanisms of Riverdale’s timeless charm and cool attitude. Third, we exemplify these aesthetic strategies by focusing on the design of the three leading female characters. Fourth, we explore the interplay between onscreen representation and offscreen self-representation of the actresses. Finally, we argue that the visual surface of the show becomes a tool to express commercial appeal and empowering values, which are not mutually exclusive.

In this paper I follow Ted Nannicelli in the project of establishing boundaries of television works. I focus on serialized television works pertaining to a particular genre and I set out to provide an account of their identity. My claim is that external identity of such works is determined by their specific genre-affiliation, given the way in which generic norms determine the content of the series, namely, its characteristic storylines and regular set of characters. From the internal perspective, a series’ identity is determined by the particular way in which it implements abstract generic norms. I describe the process of such implementation as creation of series-specific formulaic patterns, and I analyze different layers of works where such patterns are evident. My central claim is that series-specific formulaic patterns create a coherent set of norms which, through repeated instantiation in the series’ episodes, become associated with that particular series. The function of this set is to establish the series’ boundaries, and to maintain its identity when different modifications to the patterns are made.

Ethnic and regional stereotypes as simplified views of a people within a certain community based on their ethnic and regional affiliation are observed in this paper through the TV series “Konak kod Hilmije” (konak, local small private hotel with a restaurant), broadcast in 2018 and 2019 in Bosnia and Herzegovina, Serbia, Montenegro, North Macedonia, as well as in the diaspora countries of the former Yugoslavia. Ethnic and regional stereotypes were found during the analysis of the series’ rhetoric and discourse. The series is set in Sarajevo during World War II, more precisely in a restaurant with an overnight stay run by a local Sarajevo host. A handful of different characters moving through the tavern and konak has produced ethnic and regional stereotypes, in addition to their personal interests and allegedly reduced national tensions. These stereotypes run through the series as an important part of ethnic humor, whose content is primarily on an ethnic/national basis, but also contain geographical/regional or social foundations. Humor at the expense of various social groups, religious and other greetings, cultural background of the inhabitants of the old part of Sarajevo, retraditionalization in the domain of religion and language, indicates that the TV series “Konak kod Hilmije” is critical of these phenomena and processes in public discourse, mostly towards the simplified view of ethnic/regional communities in Bosnia and Herzegovina.

The media and entertainment ecosystem have been increasingly incorporating content based on transmedia narrative models, because of the multiplication of channels, the evolution of ICT and the adoption by audiences of a more active role within the creative processes. The generalization of the multiplatform distribution of these new narratives facilitates the leading role of the public, which is organized in communities that have emerged and grouped around the content. Skam Spain serie, the object of study of this research, is framed within these parameters, following the model of the original series of Norwegian origin. This fiction is an example that could seem representative of the use of transmedia to expand its narrative possibilities and at the same time get closer to its followers. Among the objectives that are proposed is the identification of the transmedia aspects of the series in its fourth season, defining the role of the broadcast channels, identifying the content that generates the greatest interaction and valuing the role of the fan community as generators and participants. of the expansion of the narrative world. A mixed methodology is applied, focused on a quantitative and qualitative content analysis of eight episodes of the fourth season of the series Skam in Spain. After developing this study where the expansion of the narrative channels and the interaction with their fan communities can be observed, having as a strong point the breaking of paradigms in the use of the channels to promote engagement with the audiences, the results obtained point to the application of a timid transmedia narrative of the channels used by the series, as well as the metafictional resources that allow crossing that line between fiction and reality, also defined by the concept of the fifth wall. [ABSTRACT FROM AUTHOR]

This research addresses the challenge of analyzing the interactive practices that young people develop in fan communities through different platforms and social networks. For this purpose, a case study based on the 3rd season of the series SKAM Spain is proposed. The theoretical framework defines the importance of fan communities in the media context, the role of social networks as spaces for youth participation and the interaction models that arise from this fiction consumption. As for the methodology, a qualitative analysis based on digital anthropology is used through various data collection techniques such as virtual ethnography and focus group, which are analyzed and interpreted according to the theory of discourse analysis, using a multimodal approach. The results of the research involve the reconstruction of the contents generated through social networks, taking into account both the intentionality of their creators and the impact achieved among the social audience. The conclusions allow establishing levels of interaction between the fan community and fictional content. Finally, the discussion debates the new models of youth audience and the role of content producers in facilitating the immersion of fans in transmedia fiction. [ABSTRACT FROM AUTHOR]

The purpose of this study is 1) to identify Baker's translation strategies on LGBTQ slang in Diary of Tootsie, season 1 on Netflix as pro-subbing and YouTube as fan-subbing., 2) to identify the different types of LGBTQ slang found in research question 1, and 3) to analyze how translation strategy affects the socio-cultural attitudes towards Thai LGBTQ community. This research employed a qualitative research method to process the data collection and data analysis. The data of this research were taken Thai LGBTQ slang words found in Diary of Tootsie, season 1 on Netflix and YouTube. The findings represented that translation by paraphrase using an unrelated word was the most common translation strategy used in Netflix (15 slang) and YouTube (14 slang), and translation by a more general word (superordinate) was the least used translation strategy use in Netflix and YouTube (1 slang). Second, ambiguous terms in five characteristics of LGBTQ language in Thai were the most frequent use of these categories (8 slang) to conceal the true meaning of the slang terms that convey the sexual meaning. The swear and taboo words (2 slang) were the least used in these categories. Last, English translation of the slang terms has no effects on the Thai LGBTQ community as well as the findings clearly indicate that the slang have represented a positive attitude rather than negative attitude towards the Thai LGBTQ community. [ABSTRACT FROM AUTHOR]

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Tour guides can transform tourist experiences. This is particularly evident in TV-series themed tours where tourists' expectations are more likely to be met if a guide leads them into different dimensions of space and time. Here, we develop a model of the multidimensional realities of mediatized places by applying grounded theory, capturing how the transformative role of tour guides is key to the creation of memorable experiences. We illustrate how guides choreograph the shifts between multidimensional realities (past, present, fantasy world). Finally, we show that this switching between multidimensional realities has significant implications, specifically resulting in greater tourist involvement and in experiences that are remembered as having been beyond expectations. Our findings reveal the importance of detailed knowledge – of both the relevant fiction and local history – in crafting memorable experiences; highlights the skills required to build trust among participants, and discusses the devices used to cross the boundaries between multidimensional realities. [ABSTRACT FROM AUTHOR]

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The situation of lockdown experienced during the months from March to June 2020 changed the daily lives of people in Spain and their leisure circumstances. This study analyses the narrative representations that people construct when they watched streaming TV series, during the covid-19 pandemic. To access these representations, the Spanish texts that appear on the Internet are analysed, including social networks and other social media. The paper adopts quantitative approaches that use big data analysis complemented with other qualitative approaches and inspired by content and discourse analysis. Findings show that these narrative representations constructed through conversations are on three levels in which context is revealed: first, institutional and community; second, online or offline interpersonal relationships which mention people as facts or as aspirations of their daily lives; and third, personal lives in the reconstruction of the series, projected on the plot reconstruction and the identity of the actors. [ABSTRACT FROM AUTHOR]

With series on conventional television and pay TV platforms now a key element of media consumption, they have gained increasing academic attention in the last decade, both as a main object of study and in combination with other social phenomena. However, the boundaries of this line of research, which draws together researchers from different fields, have become increasingly blurred. This paper undertook a bibliometric investigation to understand how this line of research has come about, what its characteristics are, the main streams within it, and the extent to which the rise in publications reflects a mature and consolidated field of research in its own right. This analysis focused on the development of scientific production on television series indexed by database Scopus between 2010 and 2019 (n = 1,679 documents). More specifically, this study analyzed authorship, journals, national output and international collaboration, co-citation of keywords to ascertain the main intellectual trends in the area and the co-occurrence of references to find out if there is a theoretical body of works that serve as a foundation for this research. The results show symptoms of immaturity, such as a lack of continuity in authority, little concurrence between specialized journals and the most cited authors and works, vagueness in both the keyword clusters and the papers that are often cited together. In addition, a large number of the most cited works come from fields outside Communication that consider television series an accessory aspect of their main theme, such as their impact on the influx of tourists as a result due to the consumption of cultural works. On the other hand, this points to a strong, versatile line of research capable of hosting research on new and old media and related to various topics. [ABSTRACT FROM AUTHOR]

The present work scrutinizes the construction of the trans protagonists in the TV series Veneno (2020). First, a semiotic analysis of the characters and their environment is carried out, centered on three levels (person, role, and actant). Second, an analysis sheet is outlined to apply it in each of the episodes. Finally, the main characteristics are observed through a study of some key scenes. This way, it is concluded how the TV series analyzed perpetuates a canonical construction of the trans collective except for certain positive aspects depicted through Valeria's character. [ABSTRACT FROM AUTHOR]

This paper considers BBC’s Sherlock (2010-2017) to intervene in debates on European identity and the transnational circulation of popular culture. The series, one of the most recent and successful television adaptations of Arthur Conan Doyle’s novels, is set in contemporary rather than Victorian London. It represents an example of both ‘quality’ international television and ‘prestige’ British popular culture. As noted by other writers, among the characteristics that enabled the commercial success of the series is its capacity to merge nostalgic elements deriving from the widespread imagery of the ‘original’ Sherlock Holmes with new and innovative textual components (e.g. use of digital technology, social media). The paper considers how Sherlock negotiates between tradition and innovation by bringing together past and present. It argues that such negotiations could perhaps be considered a mark of Europeanness, understood as a process of negotiating national identities. The paper then looks at the reception and circulation of Sherlock in Italy through the lens of cultural encounter theory. The series can be considered a success in terms of ratings and audience share. To some extent Sherlock has triggered both reflections on British television and self-reflections on Italian culture. Nevertheless, from the data we have collected, we observe that such reflections, however significant, remain limited.

The situation of lockdown experienced during the months from March to June 2020 changed the daily lives of people in Spain and their leisure circumstances. This study analyses the narrative representations that people construct when they watched streaming TV series, during the covid-19 pandemic. To access these representations, the Spanish texts that appear on the Internet are analysed, including social networks and other social media. The paper adopts quantitative approaches that use big data analysis complemented with other qualitative approaches and inspired by content and discourse analysis. Findings show that these narrative representations constructed through conversations are on three levels in which context is revealed: first, institutional and community; second, online or offline interpersonal relationships which mention people as facts or as aspirations of their daily lives; and third, personal lives in the reconstruction of the series, projected on the plot reconstruction and the identity of the actors.

Contemporary fiction TV series production in North America is characterized by the showrunner figure’s importance. This paper aims to study the concept of “showrunner” as executive-creative producer, analyze the competencies and responsibilities carried out by them during the production process of TV shows according to personal and professional factors, and examine their position within the current television market. For this purpose, a literature review on fiction TV series production and television authorship has been conducted. After this, adopting the focus of media production studies, a qualitative methodology based on in-depth personal interviews has been used, which was carried out with a selection of thirty-six significant executive producers and writers of contemporary American TV series. The findings indicate the relevance of this profile from a historical perspective, and particularly in recent years. Although there is a basic scheme of tasks developed by the showrunner in each phase of the production process, we find differences in this actuation due to personal –sex and nationality– and professional –format/gender and channel– characteristics in this industrial context. The showrunner develops an executive-creative dual profile to maintain the project’s coherence according to the established vision. Their influence over the TV series’ creative features contributes to reflection on television authorship and its attribution to this figure.

Contemporary fiction TV series production in North America is characterized by the showrunner figure's importance. This paper aims to study the concept of "showrunner" as executive-creative producer, analyze the competencies and responsibilities carried out by them during the production process of TV shows according to personal and professional factors, and examine their position within the current television market. For this purpose, a literature review on fiction TV series production and television authorship has been conducted. After this, adopting the focus of media production studies, a qualitative methodology based on in-depth personal interviews has been used, which was carried out with a selection of thirty-six significant executive producers and writers of contemporary American TV series. The findings indicate the relevance of this profile from a historical perspective, and particularly in recent years. Although there is a basic scheme of tasks developed by the showrunner in each phase of the production process, we find differences in this actuation due to personal -sex and nationality- and professional -format/gender and channel-characteristics in this industrial context. The showrunner develops an executive-creative dual profile to maintain the project's coherence according to the established vision. Their influence over the TV series' creative features contributes to reflection on television authorship and its attribution to this figure. [ABSTRACT FROM AUTHOR]

Copyright of Itobiad: Journal of the Human & Social Science Researches / İnsan ve Toplum Bilimleri Araştırmaları Dergisi is the property of Itobiad: Journal of the Human & Social Science Researches and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper considers production policies and location strategies implemented by the film commission Northern Ireland Screen (NIS). Through interviews with NIS’s head of production and one location manager, this investigation reveals the challenges presented by the framing of cultural heritage within the national screen industries, in particular during the Game of Thrones era. Case studies are Line of Duty (2012-), The Fall (2013-2016) and A Patch of Fog (2015). [ABSTRACT FROM AUTHOR]

HBO Hungary’s original series, Aranyélet’s location strategies are unique amongst Eastern-European TV shows as it does not feel the need to represent locality by swamping the viewer with iconic tourist destinations of the capital. Instead, the characteristic ‘Hungarianness’ of the show appears through displaying personal living spaces of people from a wide range of sociocultural backgrounds, all of which represent the typical Hungarian strata. In our paper, we have used a simplified categorization of social classes apparent in Hungarian society and connected these groups with characters of Aranyélet. Then, we have scrutinized the living spaces of these characters as represented in the show paying special attention to their likely location, furnishing, building materials and general condition. By this analysis, we aim to prove that the show tries to create a social mental map of Budapest and its population, covering all strata of society with painting a picture of their lifestyle and living conditions. [ABSTRACT FROM AUTHOR]

This paper provides the description and the analysis of some key aspects of the reception of European TV crime narratives in order to show how the circulation of popular narratives across the continent might provide instrumental for the deepening of European cultural integration. This document focuses in particular on the research conducted on the reception of TV series, one of the most successful and influential form of contemporary popular culture. By analysing the reception of European TV crime series, the research described in this report took into consideration three interrelated questions: 1. How can we study the way in which readers and viewers make sense of European popular narratives? 2. How do TV crime narratives European contribute to the viewers’ perception of their belonging to a European community? 3. What are the differences and similarities in the reception of the works in different areas, countries and regions? [ABSTRACT FROM AUTHOR]

Parting from the awareness that not all consumers of US media are located within the geographical and linguistic context of the United States, this article contributes to media sociology with an approximation to the fandom of transnationally popular texts. Empirical findings presented here draw from a broader qualitative study on the reception of the series Game of Thrones (GoT) by 21 viewers from Argentina, Spain and Germany. Here I build on participants' responses to both the original novels by George R.R. Martin and the series adaptation by HBO as distinctive media texts to explore notions of authorship, adaptation and cultural legitimacy. Given the polysemic, intertextual quality of contemporary's memetic culture, I also discuss a case of digital re-appropriation of GoT's characters within [ABSTRACT FROM AUTHOR]