Indiscreet Charm of Series in the Era of Streaming
Abstract
The author of the article presents the reasons why modern film series are considered to be high quality products surpassing the cinema. Mazierska analyses their textual properties, as well as the typical way of consuming them, referred to as binge watching or feasting. She also tries to assess their value from the perspective of promoting egalitarian values and the ideal of amateurism. The text is based on rich empirical material, but special attention is given to three particular series: Lost (2004-2010), Prison Break (2005-2009) and Breaking Bad (2008-2013).
Keywords:
series, binge watching, quality TVReferences
De Fino, Dean. The HBO Effect. London: Bloomsbury, 2014
DOI: https://doi.org/10.5040/9798765100691
Google Scholar
Hills, Matt. Fan Cultures. London: Routledge, 2002
DOI: https://doi.org/10.4324/9780203361337
Google Scholar
Jenkins, Henry. Textual Poachers: Television Fans & Participatory Culture. London: Routledge, 1992
Google Scholar
Kramer, Peter. The Lure of Big Picture: Film, Television and Hollywood. In: Big Picture, Small Screen: The Relations between Film and Television, edited J. Hill, M. McLoone, John Libbey. Luton, 1996
Google Scholar
Marx, Karl, Friedrich Engels. The German Ideology, Parts I and III. New York: International Publishers, 1947
Google Scholar
Netflix to Restore LOST Finale After Fan Outcry, http://lostpedia.wikia.com/wiki/Main_Page (dostęp: 5.01.2017)
Google Scholar
Rancière, Jacques. On the Actuality of Communism. In Post-Fordism and its Discontents, edited by G. Kirn, Jan van Eyck Academie. Maastricht, 2010
Google Scholar
Authors
Ewa Mazierskakwartalnik.filmowy@ispan.pl
University of Central Lancashire United Kingdom
Profesor na Wydziale Nauk Humanistycznych i Społecznych w University of Central Lancashire w Wielkiej Brytanii. Autorka i redaktorka ponad dwudziestu książek poświęconych obrazowi pracy w kinie, marksizmowi, science fiction i muzyce popularnej. Jej ostatnia większa publikacja to zbiór Heading North: The North of England in Film and Television (2017). Prace Mazierskiej były tłumaczone na ponad 20 języków. Jest też redaktorem naczelnym pisma „Studies in Eastern European Cinema” publikowanego przez Routledge.
Statistics
Abstract views: 28PDF downloads: 34
License
Copyright (c) 2017 Ewa Mazierska
This work is licensed under a Creative Commons Attribution 4.0 International License.
The author grants the publisher a royalty-free non-exclusive licence (CC BY 4.0) to use the article in Kwartalnik Filmowy, retains full copyright, and agrees to identify the work as first having been published in Kwartalnik Filmowy should it be published or used again (download licence agreement). The journal is published under the CC BY 4.0 licence. By submitting an article, the author agrees to make it available under this licence.
In issues from 105-106 (2019) to 119 (2022) all articles were published under the CC BY-NC-ND 4.0 licence. During this period the authors granted a royalty-free non-exclusive licence (CC BY-ND 4.0) to use their article in „Kwartalnik Filmowy”, retained full copyright, and agreed to identify the work as first having been published in our journal should it be published or used again.
