后现代和后媒体超想象中的图像交集:从前的一个系列=后现代和后媒体超想象中的图像交集:前一个系列的例子

IF 0.2 Q4 COMMUNICATION H-ermes-Journal of Communication Pub Date : 2021-05-07 DOI:10.1285/I22840753N19P115
Luca Bertoloni
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引用次数: 0

摘要

在当代媒体视野中,《从前》(ABC,七季,2011-2018)代表了一个相当新颖的系列实验:从迪士尼推动的、有时由迪士尼创造的共同的西部(不仅是西部)童话意象开始,该系列凭借其生态系统结构,在本质上是通过与其他想象的交叉来配置的。其结果是创作了一部被污染的超想象小说,重新思考、重新语义化和重新表述已经印在集体想象中的人物和故事。该系列的建筑采用了最初的想象作为额缘和地基;相反,语义结构编织了一个与观众的持续对话,质疑故事、人物、音乐时刻、服装、图像,甚至其他电影的整个序列——所有这些材料都在观众的集体想象中留下了深刻的印象,观众的记忆被征集。正是由于观众视听记忆中产生的联系——反过来,作者运用的叙事和元叙事策略很好地唤起了这种联系——该系列才得以开拓出自己的独创性。因此,正在讨论的系列从零开始,在不断的演变中创造了一个对想象的反思想象。因此,传统的童话意象并没有被遗忘,而是被重塑和重新语义化,以支持在当代媒体景观中占主导地位的新视角(性别视角、反派历史、跨媒体故事、可复制性),并与原始元叙事相结合:因此,《从前》指的是复杂性的范式,它提出自己是一个新的参考点,可以在几个层面上有用,并且可以被视为一个从童年到成年都有效的新的后现代和后医学神话。
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Intersezioni di immaginari in un iper-immaginario postmoderno e postmediale: il caso della serie Once Upon a Time = Intersections of imaginaries in a postmodern and postmedial hyper-imaginary: the case of the series Once Upon a Time
Within the contemporary mediascape, Once Upon a Time (ABC, seven seasons, 2011-2018) represents a rather original serial experiment: starting from the shared westerly (and not only) fairy-tale imagery, fueled and sometimes created by Disney, the series, thanks to its ecosystem structure, is configured in its essence by intersections with other imaginaries. The result is the creation of a contaminated hyper-imaginary novel that rethinks, re-semantizes and reformulates characters and stories already imprinted in the collective imaginary. The architecture of the series resorts to the starting imaginaries as architraves and foundations; the semantic construction, instead, weaves a constant dialogue with the spectators, questioning stories, characters, musical moments, costumes, iconographies, even entire sequences of other films - all materials well impressed in the collective imaginaries of viewers, whose memory is solicited. It is only thanks to the links generated in the audiovisual memory of the spectators – in turn, well evoked by the narrative and metanarrative strategies applied by the authors – it the series manages to carve out its own originality. Therefore, the series under discussion creates, from scratch, a reflective imaginary of imaginaries in a constant evolution. So, the traditional fairy-tale imagery is not forgotten, but reshaped and re-semantized in favor of the new perspectives that dominate in the contemporary mediascape (gender perspectives, villains back history, transmedia storytelling, replicability), combined with an original metanarrative: therefore Once Upon a Time, referring to the paradigm of complexity, proposes itself as a new point of reference that can be useful on several levels, and could be seen as a new postmodern and postmedial myth valid from childhood to adulthood.
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