![]() This chapter focuses on the main title sequences of recent television serials commissioned by the North American premium cable channel Home Box Office. This article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Our article studies some of these imaginaries: commercial, theatrical, grotesque, phantasmic, serial. To face the sight of a dead body, a visual filter is necessary which keeps the corpse at a distance maintaining the illusion of facing it. Whether for bereaving families or for the TV viewer, the vision of a corpse is impossible without aesthetics and imagination which transform it into a body. A raw approach with details of the science of body preservation, it openly shows bodies, revealing the true role of embalming: erasing death from the dead body. The series Six Feet Under, dedicated to the daily life of a family of undertakers, offers a new and original approach to the corpse. Notre article étudie quelques-unes de ces différentes imageries : commerciale, théâtrale, grotesque, fantasmatique, sérielle. Pour affronter la vision d’un mort, un filtre visuel est indispensable qui, sous l’illusion de la frontalité, n’est qu’une mise à distance du cadavérique. Que ce soit pour les familles du défunt ou pour le téléspectateur lui-même, la vision du cadavre ne peut se faire sans une esthétique, un imaginaire, qui le transforment en corps. Très crue dans les détails de la thanatopraxie, elle montre ouvertement des corps tout en dévoilant le véritable enjeu de l’embaumement : effacer la mort sur le mort. La série télévisée Six Feet Under, consacrée à la vie quotidienne d’une famille de directeurs de pompes funèbres, propose une approche inédite et originale du cadavre. Through an analysis of different merchandising strategies the paper argues that programmes have come to act as brands in their own right, and demonstrates that the academic study of branding not only reveals the development of new industrial practices, but also offers a way of understanding the television programme and its consumption by viewers in a period when the texts of television are increasingly extended across a range of media platforms. The paper then goes on to examine programme merchandising, an increasingly central strategy in TVIII. The role of programmes in the construction of brand identity is then complicated by examining the sale of programmes abroad, where programmes can be seen to contribute to the brand identity of more than one network. It begins by examining how the network as brand is constructed and conveyed to the consumer through the use of logos, slogans and programmes. Focusing on the case of HBO, a particularly successful brand in TVIII, this paper argues that branding can be understood not simply as a feature of television networks, but also as a characteristic of television programmes. Quotes should be separated by four elipses (.) unless multiple quotes are used between characters as part of a conversation.In the era of TVIII, characterised by deregulation, multimedia conglomeration, expansion and increased competition, branding has emerged as a central industrial practice. The preferred format for quotes is an asterisk, followed by the character's name (bold and hyper-linked), semi-colon then the quote itself (without quotation marks. Be the first to add some! Just click on the edit tab under the section heading and start typing. There are no quotes available for this episode at this time.In most cases, this refers to characters or events from previous episodes. An allusion is an incidental reference made to a character, person, event or other miscellaneous piece of media that can be found somewhere in the episode itself. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |