Narrative structures in Colombian fictional web series published on YouTube

IF 0.4 4区 艺术学 0 FILM, RADIO, TELEVISION
Diego F. Montoya-Bermúdez, María T. Soto-Sanfiel
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引用次数: 0

Abstract

This research seeks to contribute to knowledge of the structural characteristics and narrative complexity that define the web series format. To do so, we look at the case of Colombia’s prolific web series production, undertaken by professional and amateur producers and promoted by institutional and educational programmes. This research analyses the structure of 26 productions (thirteen professional, thirteen amateur) using a mixed-methods approach and an exploratory-descriptive scope. It uses analytical tools created inspired by narratology. Specifically, it offers data that allow us to develop the definition of web series: characteristics of their plots, characters, aspects of narration (time, mood, voice) and forms of endings. The results indicate that Colombian web series mostly present traditional serialized narrative structures and plot simplicity. They have linear, chronological and elliptical narratives developed in the present tense. They also tend to tell a single narrative, albeit through different stories, and leave open endings. Finally, there are only slight differences in these aspects between the two types of producers. These results, based on a specific geographical and industrial context, contribute to knowledge of web series form and its relationship to conventional serialized fiction.
在YouTube上发布的哥伦比亚虚构网络系列的叙事结构
本研究旨在帮助了解定义网络系列格式的结构特征和叙事复杂性。为了做到这一点,我们来看看哥伦比亚多产的网络连续剧制作的案例,这些制作由专业和业余制作人进行,并由机构和教育计划推动。本研究采用混合方法和探索性描述性范围分析了26部作品(13部专业作品,13部业余作品)的结构。它使用了受叙事学启发而创造的分析工具。具体来说,它提供的数据使我们能够发展网络系列的定义:它们的情节特征、人物、叙事方面(时间、情绪、声音)和结局形式。研究结果表明,哥伦比亚网络连续剧大多呈现出传统的系列化叙事结构和情节的简洁性。它们有线性的、按时间顺序的和椭圆的叙述,都是用现在时态发展起来的。他们也倾向于讲述一个单一的故事,尽管是通过不同的故事,并留下开放的结局。最后,这两种类型的生产者在这些方面只有细微的差别。这些结果基于特定的地理和工业背景,有助于了解网络系列的形式及其与传统连载小说的关系。
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
CiteScore
0.80
自引率
0.00%
发文量
21
期刊介绍: The Journal of Screenwriting aims to explore the nature of writing for the moving image in the broadest sense, highlighting current academic thinking around scriptwriting whilst also reflecting on this with a truly international perspective and outlook. The journal will encourage the investigation of a broad range of possible methodologies and approaches to studying the scriptwriting form, in particular: the history of the form, contextual analysis, the process of writing for the moving image, the relationship of scriptwriting to the production process and how the form can be considered in terms of culture and society. The journal also aims to encourage research in the field of screenwriting and the linking of scriptwriting practice to academic theory, and to support and promote conferences and networking events on this subject.
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