《广告狂人》

IF 0.2 0 FILM, RADIO, TELEVISION
Gary R. Edgerton
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引用次数: 0

摘要

每十年一两次,一个新的电视节目出现,捕捉和表达时代精神。《广告狂人》(Mad Men, 2007-2015)就是21世纪末到21世纪初的美剧。2007年7月19日,《广告狂人》在AMC电视台(1984年至2003年的前身是美国电影经典频道)首播后不久,《广告狂人》就从一个在基本有线频道没人看的小节目发展成为那个时代最著名的剧本剧。《广告狂人》在开播之初就为剧情类剧集树立了创意标准。它被好莱坞外国记者协会评为2007年,2008年和2009年最佳电视剧;2009年和2010年英国电影电视学院最佳国际影展;2008年、2009年、2010年和2011年被美国国家电视艺术与科学学院评为最佳电视剧,这是第一部获得该奖项的基本有线电视连续剧。总的来说,《广告狂人》赢得了5个金球奖,16个艾美奖,以及其他50个主要奖项,包括所有主要好莱坞行业协会的荣誉,以及著名的乔治·福斯特·皮博迪广播奖。回想起来,AMC的高管们采用了他们所谓的“HBO公式”,即由一位久经考验的编剧兼制片人马修·韦纳(Matthew Weiner)开发他们自己的前卫、复杂、充满激情的项目,他恰好有一个出身,包括《黑道家族》(HBO, 1999-2007)。结果是《广告狂人》逐渐成为AMC的第一部原创热门剧集,产生了前所未有的口碑,并将该频道重塑为一个更时尚、更有鉴别力的有线和卫星电视网络。反过来,《广告狂人》打破了有线电视的玻璃天花板,就像《黑道家族》(the Sopranos)在大约八年半前为付费电视所做的一样。《广告狂人》也从多平台接收的出现中受益匪浅。尽管《广告狂人》对AMC电视台的影响是立竿见影的、具有变革性的,但这部剧最初更多的是一种文化现象,而不是轰动一时。尽管如此,该剧在2007年第一季在AMC的平均收视人数还是从90万增长到了第六季的250万。此外,《广告狂人》的总收视率在很大程度上依赖于联合播放、dvd和数字设备流媒体,仅在北美,每集就有大约3000万不可复制的观众。到2015年5月17日大结局时,《广告狂人》已在50多个国家播出,并通过全球在线流媒体全天候播放。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Mad Men
Once or twice a decade, a new television program comes along to capture and express the zeitgeist. Mad Men (2007–2015) was that show in the late 2000s and early 2010s. Soon after premiering on the 19 July 2007 on AMC (formerly American Movie Classics from 1984 to 2003), Mad Men evolved from being that little program that nobody watched on an also-ran basic cable channel to the most celebrated scripted drama of its era. Mad Men set the creative standard for dramatic series over the span of its initial run. It was recognized by the Hollywood Foreign Press Association as the Best Television Drama of 2007, 2008, and 2009; the British Academy of Film and Television as Best International Show of 2009 and 2010; and the National Academy of Television Arts and Sciences as the Outstanding Drama Series of 2008, 2009, 2010, and 2011, being the first basic cable series ever to win this award. Overall, Mad Men won five Golden Globes, sixteen Emmys, and fifty other major awards, including honors from all of the major Hollywood guilds, as well as receiving a prestigious George Foster Peabody Award for excellence in broadcasting. In retrospect, AMC executives adopted what they referred to as “the HBO formula” of developing their own edgy, sophisticated, passion project by a proven writer-producer, Matthew Weiner, who just happened to have a pedigree that included The Sopranos (HBO, 1999–2007). What resulted was the gradual emergence of Mad Men as AMC’s first original hit series, generating unprecedented word-of-mouth, and rebranding the channel as a hipper, more discriminating, alternative cable-and-satellite network. In turn, Mad Men broke the glass ceiling for basic cable in much the same way that The Sopranos had done for pay TV some eight-and-a-half years earlier. Mad Men also benefited greatly from the emergence of multiplatform reception. Even though Mad Men’s impact on AMC was immediate and transformative, the show was at first more a cultural phenomenon than a breakout hit. Nevertheless, its first-season audience average of 900,000 on AMC in 2007 eventually grew to 2.5 million by Season 6. Moreover, Mad Men’s total viewership relied heavily on syndication, DVDs, and streaming to digital devices, translating into an estimated 30 million unduplicated viewers per episode in North America alone. By the time of its finale on 17 May 2015, Mad Men was being syndicated in over fifty countries and was available 24/7 through online streaming globally.
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来源期刊
CiteScore
0.40
自引率
50.00%
发文量
53
期刊介绍: Journal of Italian Cinema & Media Studies is an English-language forum for theoretical, methodological and critical debate on Italian film and media production, reception and consumption. It provides a platform for dialogue between academics, filmmakers, cinema and media professionals. This peer-reviewed journal invites submissions of scholarly articles relating to the artistic features, cultural themes, international influence and history of Italian film and media. Furthermore, the journal intends to revive a critical discussion on the auteurs, revisit the historiography of Italian cinema and celebrate the dynamic role played by new directors. The journal includes a book and film review section as well as notes on Italian film festivals abroad and international conference reports. The profound transformation undergone by the rapidly expanding media environment under the impact of digital technology, has lead scholars in the field of media studies to elaborate new theoretical paradigms and methodological approaches to account for the complexities of a changing landscape of convergence and hybridization. The boundaries between cinema and media as art forms and fields of inquiry are increasingly hybridized too. Taking into account this evolving scenario, the JICMS provides an international arena for critical engagement with a wider range of issues related to the current media environment. The journal welcomes in particular contributions that discuss any aspects of Italian media production, distribution and consumption within national and transnational, social, political, economic and historical contexts.
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