Hankering for iconic moments: Transduction and representation in Skam fans’ anticipations about the remake Skam Austin

IF 0.1 0 FILM, RADIO, TELEVISION

Journal of Scandinavian Cinema Pub Date : 2021-03-01 DOI:10.1386/jsca_00043_1

A. Bachmann

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Abstract

The Norwegian web series Skam (2015‐17) has been remade several times, but the American version Skam Austin (2018‐19) has a particular standing as an adaptation because its first season was produced by the original showrunner. The article considers fans’ views of the choices made in the remake and the contextual shifts informing these choices, i.e. their views of the so-called cultural transduction. It argues that the fan discourse around Skam Austin thrives on discussing the transduction in itself, because long-standing fans dominate the discourse and because the show’s depictions of teenage life-worlds are expected to have high realistic ambitions. Comments from fans reveal that much of their enjoyment of Skam Austin resided in expectations about specific ‘remade moments’. Such moments typically express a spirit of social resistance and are, if successful, celebrated as iconic. In the politicized American media climate of the day, ‘remade moments’ that particularly engaged fans focused on representation issues concerning gender and race, such as intersectional identities and awareness about sexual harassment.

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对标志性时刻的渴望：Skam粉丝对翻拍版Skam Austin的期待

挪威网络剧《斯卡姆》(2015 - 17)已经被翻拍过几次，但美国版的《斯卡姆·奥斯汀》(2018 - 19)作为改编剧有着特殊的地位，因为它的第一季是由原制片人制作的。本文考虑了粉丝对翻拍中做出的选择的看法，以及影响这些选择的语境变化，即他们对所谓的文化转导的看法。它认为，围绕斯卡姆·奥斯汀的粉丝话语在讨论转导本身上蓬勃发展，因为长期的粉丝主导了话语，因为该剧对青少年生活世界的描绘被期望具有很高的现实抱负。粉丝们的评论显示，他们对《斯卡姆·奥斯汀》的大部分享受都来自于对特定“重拍时刻”的期待。这样的时刻通常表达了一种社会抵抗精神，如果成功，就会被视为标志性的。在当时政治化的美国媒体氛围中，“重塑时刻”特别吸引粉丝关注性别和种族方面的代表性问题，比如交叉身份和对性骚扰的认识。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

Journal of Scandinavian Cinema FILM, RADIO, TELEVISION-

CiteScore

0.40

自引率

33.30%

发文量

期刊介绍： Journal of Scandinavian Cinema is a scholarly journal devoted to excellent research and stimulating discussion focusing on the cinemas of Denmark, Finland, Iceland, Norway and Sweden, both within their national and Nordic contexts, and as transnational cinemas in a globalized world.