tailieunhanh - Television’s Aesthetic of Efficiency: Convergence Television and the Digital Short

Brentano and Meinong differ further in their respective accounts of the interrelations between the given categories. For whilst both see judgments as presupposing, . as being dependent on, associated presentations, the Meinongian framework allows also a presupposition or dependence in the opposition direction: a presentation, too, may be dependent on a moment of conviction in the sense that it is associated with the disposition to make judgments of a given type. | 1 Television s Aesthetic of Efficiency Convergence Television and the Digital Short Max Dawson Northwestern University The two-minute webisode is a very strange beast. Two minutes to a cliffhanger. I don t know if webisodes are going to be around long-term. Ronald D. Moore Executive Producer Battlestar Galactica1 Our goal is to take the content and use it any way we can. How do we do a two-minute version of CSI and get paid for it Leslie Moonves President and Chief Executive Officer CBS Corporation 2 Following an extended period during which the research priorities of the discipline of television studies were oriented around audiences and reception practices since the 1990s television scholars have returned to the television In conjunction with this aesthetic re turn scholars have undertaken to map the shifting horizons of the television text revisiting and revising foundational models of television s textuality in ways which account for dispersals extensions and expansions of the medium s narratives and storyworlds across media. For instance Will Brooker has documented how the diegesis of the series Dawson s Creek overflows television s boundaries spilling out into immersive websites that merge television with the vast diversity of the internet. 4 Along similar lines Jamie Sexton writes of the leakiness of television s texts and Matt Hills of the hyperdiegeses or vast and detailed narrative space s constructed by cult television In dialogue with these projects of diegetic cartography critics have plotted out the contours of the narratives that unfold within these expansive spaces. Hence Jason Mittell details the narrative complexity and Jeffrey Sconce the narrational metareflexivity of series such as The X-Files and The 2 Simpsons6 Taken together these studies make a compelling and nuanced argument for the connection between developments in television narration and visual form and contemporary processes of technological and industrial convergence .

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