What Is Long-Form Television? An Answer to Jason Mittell's Complex TV.
What is long-form television precisely? There is a consensus that seems to accept it as a creative departure from and adaptation of traditional television, cinema, and—most importantly—the serial novel. Nevertheless, this is a claim that must survive Jason Mittell's argument in Complex TV: The Poeti...
| Publicado en: | Canadian Review of American Studies Vol. 51; no. 3; pp. 261 - 276 |
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| Formato: | Literary Criticism |
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University of Toronto Press
Winter2021
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=153092012&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 153092012 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00077720 CRA jtl: Canadian Review of American Studies issn: 00077720 maglogo: Y pubinfo: dt: Winter2021 vid: 51 iid: 3 pid: 678 pub: University of Toronto Press artinfo: ui: 153092012 10.3138/cras-2020-016 ppf: 261 ppct: 15 formats: fmt: – @attributes: type: T – @attributes: type: P size: 155KB tig: atl: What Is Long-Form Television? An Answer to Jason Mittell's Complex TV. aug: au: Bartley, William su: Complex TV: The Poetics of Contemporary Television Storytelling (Book) Mittell, Jason Television Television adaptations Television criticism Storytelling sug: subj: Complex TV: The Poetics of Contemporary Television Storytelling (Book) Mittell, Jason Television Television adaptations Television criticism Storytelling keyword: complex television Jason Mittell long-form television Martin Shuster new television The Wire nouvelle télévision télévision complexe télévision long format ab: What is long-form television precisely? There is a consensus that seems to accept it as a creative departure from and adaptation of traditional television, cinema, and—most importantly—the serial novel. Nevertheless, this is a claim that must survive Jason Mittell's argument in Complex TV: The Poetics of Contemporary Television Storytelling. Mittell rejects the view that the new kind of television is a hybrid form, instead, affirming that it is a form unique to television itself and so different in kind from the novel and the cinema. Accordingly, Mittell tries to develop a medium-specific terminology to capture and circumscribe this supposedly new conceptual space. I contend, however, that the form resists this categorical purification; it is so utterly bound up with the novel and cinema that it would simply cease to exist without them. Mittell's definition of "complex TV" unintentionally exposes how central the analogy to the novel and the cinema is to the conception of long-form television and, ultimately, his position is parasitically dependent on that analogy. His resistance to the cinematic and novelistic is consequential: we see how his assertion of the independence of television impoverishes his reading of arguably the greatest long-form series, The Wire. Qu'est-ce que la télévision long format, exactement? Il y a un consensus qui semble l'accepter comme étant un virage créatif et une adaptation de la télévision traditionnelle, du cinéma et — de façon encore plus importante — du roman sériel. Néanmoins, cette déclaration se doit de survivre l'argument de Jason Mittell dans Complex TV: The Poetics of Contemporary Television Storytelling. Mittell rejette la perspective que la nouvelle sorte de télévision est une forme hybride; au contraire, il affirme que c'est une forme unique à la télévision même et très différente du roman et du cinéma. En effet, Mittell tente de développer une terminologie spécifique au médium pour capturer et limiter ce prétendu nouvel espace conceptuel. Je soutiens, au contraire, que la forme résiste à cette purification catégorique; elle est tellement liée au roman et au cinéma qu'elle cesserait tout simplement d'exister sans eux. La définition de Mittell d'une « TV complexe » expose involontairement à quel point l'analogie au roman et au cinéma est centrale à la télévision long-format et, au final, sa position dépend sur cette analogie. Sa résistance au cinématique et au romanesque est important : nous constatons que son affirmation de l'indépendance de la télévision appauvrit sa lecture de ce qui est probablement la meilleure série long format, The Wire. pubtype: Academic Journal doctype: Literary Criticism src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Canadian Review of American Studies is the property of University of Toronto Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Canadian Review of American Studies holder: University of Toronto Press dt: @attributes: year: 2021 holdings: @attributes: islocal: N |
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