While the franchise’s status as a global cross-media phenomenon constitutes its own politics of adaptation, the ideology reflected by its world-building process simultaneously makes up an illuminating adaptation of politics. 7 Slavoj Žižek, The Sublime Object of Ideology, London, Verso Books, 1989.ĤAs a case study that illuminates some of the key transformations in serialized television drama, it therefore suits not only the framework of shifting hierarchies of adaptive value in the context of media convergence and globalization: the narrative’s emphasis on political conflict in an imaginary world brings into sharp focus the relationship between fictional geopolitics and our own ‘post-ideological’ moment 7.It adapts not only a series of novels that had developed a small but very devoted fan base, but also a larger set of aesthetic and discursive practices that relate back to the institutional framework of American premium cable and ‘Quality TV.’ HBO’s hit fantasy series Game of Thrones (2011- ) is not only the most successful exponent of this development, but it also demonstrates clearly how television’s adaptation of the content, the forms, and the discursive practices of other media have resulted in its recent increase in cultural capital 6. Long a fringe phenomenon within scripted television drama 4, genres like fantasy, horror, and science fiction have played an increasingly dominant role in the development of 21 st-century ‘Quality TV’: American network hits like Lost (ABC, 2002-2010) and Heroes (NBC, 2006-2010), basic cable phenomena like Battlestar Galactica (SyFy, 2004-2009) and The Walking Dead (AMC, 2010- ), and premium cable productions from Dead Like Me (Showtime, 2003-2004) to True Blood (HBO, 2008-2014) are among the most widely acclaimed serialized television narratives 5. ![]() ![]()
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