女族长之死:肥皂剧美学、空间与记忆

IF 0.9 2区 艺术学 0 FILM, RADIO, TELEVISION
Faye Woods
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引用次数: 0

摘要

长期存在的老年角色的死亡提供了一个思考肥皂剧叙事的潮起潮落和循环本质的机会。本文以《伦敦东区》中三位女家长的死亡为例,来思考这部肥皂剧对美学和空间的运用,以及它对记忆的分层。帕特·布彻、佩吉·米切尔和多特·科顿的死亡——两个在屏幕上,一个在屏幕上——见证了这部剧的强化,打破了它的美学和叙事惯例,将这些死亡视为强烈的情感“事件”。这些结局是肥皂剧叙事不断向前发展的停顿时刻。长期存在的老年角色体现了肥皂剧的记忆,通过这些死亡,《东区人》重新审视了过去的深层,通过“自我引用和自我参照的做法”向离开的标志性角色致敬(Holdsworth, 2011: 37)。在这里,物品和空间、记忆和回报被用来丰富长期观众的体验。本文认为阿尔伯特广场是一个“时间丰富”的空间(Lury, 2005:16),并将这些片段作为该项目如何改变其美学惯例和扰乱其空间动态以产生情感影响的例子。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Death of a matriarch: Soap opera aesthetics, space and memory
The deaths of long-running, elderly characters offer up a chance to consider the ebb and flow and circular nature of soap narratives. This article uses the deaths of three of EastEnders ’s matriarchs to think about the soap opera’s use of aesthetics and space, alongside its layering of memory. Pat Butcher, Peggy Mitchell and Dot Cotton’s deaths – two on screen and one off – saw the programme intensify and disrupt its aesthetic and narrative conventions to signify these deaths as intensely emotional ‘events’. These endings were moments of pause in the ever-onwards flow of soap narrative. Long-running elderly characters embody soap memory, and through these deaths EastEnders revisited deep layers of its past to pay tribute to departing iconic characters by employing ‘practices of self-citations and self-referentiality’ (Holdsworth, 2011: 37). Here, objects and spaces, remembrances and returns are used to enrich the experience of long-time viewers. This article considers the use of Albert Square as a ‘time-rich’ (Lury, 2005:16) space and presents these episodes as examples of how the programme can shift its aesthetic conventions and unsettle its spatial dynamics for affective impact.
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来源期刊
Critical Studies in Television
Critical Studies in Television FILM, RADIO, TELEVISION-
CiteScore
2.10
自引率
30.00%
发文量
70
期刊介绍: Critical Studies in Television publishes articles that draw together divergent disciplines and different ways of thinking, to promote and advance television as a distinct academic discipline. It welcomes contributions on any aspect of television—production studies and institutional histories, audience and reception studies, theoretical approaches, conceptual paradigms and pedagogical questions. It continues to invite analyses of the compositional principles and aesthetics of texts, as well as contextual matters relating to both contemporary and past productions. CST also features book reviews, dossiers and debates. The journal is scholarly but accessible, dedicated to generating new knowledge and fostering a dynamic intellectual platform for television studies.
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