超越屏幕,超越国界。超越屏幕,超越国界。SKAM,一个案例研究

IF 0.2 Q4 COMMUNICATION H-ermes-Journal of Communication Pub Date : 2020-11-06 DOI:10.1285/I22840753N16P125
G. Galvagno
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引用次数: 0

摘要

挪威电视剧《SKAM》是当代电视最有趣的产品之一,是跨媒体故事结构和青少年戏剧既定电视类型之间的匹配。2018年,SKAM在国际上取得成功。该系列首先以短片的形式在专门的网站上实时发布,然后在电视或流媒体平台上每周播出一集。这种格式跨越了屏幕之间和各州之间的边界,这是以前没有的其他产品。如果SKAM的跨表盘结构完全符合与社交媒体上分享内容的简洁性相关的媒体消费实践,那么这种形式的内在力量使原创系列在许多国家都能找到大量追随者,这要归功于粉丝替补或粉丝艺术等挪用体验。该剧成果的时间性融入了观众的日常生活,从而巩固了与角色的反社会关系
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Beyond screens, beyond borders. Il caso SKAM = Beyond screens, beyond borders. SKAM, a case study
The Norwegian series SKAM is one of the most interesting products of contemporary television, as a match between the structure of transmedia storytelling and the established tv genre of the teen-drama. In 2018 SKAM became an international success.The series is firstly published in real time, in the form of short clips on the dedicated website, and it is later assembled on television or on the streaming platform in weekly episodes. This format has trascended the borders between screens and between states as no other product before. If the transmedial structure of SKAM perfectly fits a media consumption practice linked to the briefness of contents shared on social media, the intrinsic power of this format allowed the original series to find a huge following in many countries thanks to appropriation experiences like fan subbing or fan art. The temporality of the series’ fruition is integrated in the daily routine of the viewers, thus cementing the parasocial bonds with the characters
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