{"title":"连环社区:《女子监狱》中个人与集体身份之间的动态关系","authors":"Kristina Graour","doi":"10.1386/jptv_00076_1","DOIUrl":null,"url":null,"abstract":"The influence of soap operas on other forms of television narrative has long been remarked upon by television scholars, especially with regards to the increasing tendency towards serialized plotlines that contemporary dramas have exhibited over the last three decades. Nonetheless, the\n full impact of the soap opera form on the structural principles of ongoing television narratives is yet to be explored. A crucial part of this lineage is the privileged role granted to communities in soaps, a narrative strategy that has been embraced by an array of other types of serialized\n programming, including ‘premium’ dramas. Drawing on Christine Geraghty’s writing on soap operas’ construction of community, this article will examine how this storytelling strategy is reworked by contemporary ‘premium’ programmes. Using Orange Is the\n New Black (2013‐19) as a case study, I will explore how the patterns of interplay between the individual and the group can shape both the form and diegesis of a programme. I will analyse how Orange Is the New Black gradually shifts from being structured around a single protagonist\n to being structured around the community as a whole, demonstrating that the tension between individual and collective identities can be a productive force that proliferates and expands the narrative of a programme.","PeriodicalId":41739,"journal":{"name":"Journal of Popular Television","volume":"1 1","pages":""},"PeriodicalIF":0.4000,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Serial communities: The dynamics between individual and collective identity in Orange Is the New Black\",\"authors\":\"Kristina Graour\",\"doi\":\"10.1386/jptv_00076_1\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The influence of soap operas on other forms of television narrative has long been remarked upon by television scholars, especially with regards to the increasing tendency towards serialized plotlines that contemporary dramas have exhibited over the last three decades. Nonetheless, the\\n full impact of the soap opera form on the structural principles of ongoing television narratives is yet to be explored. A crucial part of this lineage is the privileged role granted to communities in soaps, a narrative strategy that has been embraced by an array of other types of serialized\\n programming, including ‘premium’ dramas. Drawing on Christine Geraghty’s writing on soap operas’ construction of community, this article will examine how this storytelling strategy is reworked by contemporary ‘premium’ programmes. Using Orange Is the\\n New Black (2013‐19) as a case study, I will explore how the patterns of interplay between the individual and the group can shape both the form and diegesis of a programme. I will analyse how Orange Is the New Black gradually shifts from being structured around a single protagonist\\n to being structured around the community as a whole, demonstrating that the tension between individual and collective identities can be a productive force that proliferates and expands the narrative of a programme.\",\"PeriodicalId\":41739,\"journal\":{\"name\":\"Journal of Popular Television\",\"volume\":\"1 1\",\"pages\":\"\"},\"PeriodicalIF\":0.4000,\"publicationDate\":\"2022-06-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Journal of Popular Television\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1386/jptv_00076_1\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"FILM, RADIO, TELEVISION\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Popular Television","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1386/jptv_00076_1","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
引用次数: 0
摘要
肥皂剧对其他电视叙事形式的影响一直被电视学者所关注,尤其是在过去三十年中,当代电视剧呈现出越来越多的情节系列化趋势。尽管如此,肥皂剧形式对正在进行的电视叙事结构原则的全面影响仍有待探索。这种传承的一个关键部分是社区在肥皂剧中被赋予的特权角色,这种叙事策略已经被一系列其他类型的系列化节目所接受,包括“收费”电视剧。借鉴Christine Geraghty关于肥皂剧“社区建构”的文章,本文将研究这种讲故事的策略是如何被当代“优质”节目重新设计的。以《女子监狱》(Orange Is the New Black, 2013 - 19)为例,我将探讨个人与群体之间的相互作用模式如何影响项目的形式和发展。我将分析《女子监狱》是如何逐渐从围绕单个主角的结构转变为围绕整个社区的结构,证明个人和集体身份之间的紧张关系可以成为一种生产力,它可以扩散和扩展节目的叙事。
Serial communities: The dynamics between individual and collective identity in Orange Is the New Black
The influence of soap operas on other forms of television narrative has long been remarked upon by television scholars, especially with regards to the increasing tendency towards serialized plotlines that contemporary dramas have exhibited over the last three decades. Nonetheless, the
full impact of the soap opera form on the structural principles of ongoing television narratives is yet to be explored. A crucial part of this lineage is the privileged role granted to communities in soaps, a narrative strategy that has been embraced by an array of other types of serialized
programming, including ‘premium’ dramas. Drawing on Christine Geraghty’s writing on soap operas’ construction of community, this article will examine how this storytelling strategy is reworked by contemporary ‘premium’ programmes. Using Orange Is the
New Black (2013‐19) as a case study, I will explore how the patterns of interplay between the individual and the group can shape both the form and diegesis of a programme. I will analyse how Orange Is the New Black gradually shifts from being structured around a single protagonist
to being structured around the community as a whole, demonstrating that the tension between individual and collective identities can be a productive force that proliferates and expands the narrative of a programme.