双重幻想,改编卷轴:作为合作叙事策略的娱乐跨界

IF 0.4 Q4 COMMUNICATION Journal of Applied Journalism & Media Studies Pub Date : 2021-06-01 DOI:10.1386/ajms_00057_1
C. Campanioni
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引用次数: 0

摘要

我们能否将粉丝参与和故事情节的共同创作移出文化产业的领域,以更好地理解它们在构建个人主体性和推动社会变革方面的潜在功能?通过对移民、流放和拘留经历的关注,以及对纪录片《狼群》(2015)、HBO双语恐怖喜剧《Los Espookys》(2019)和曼纽尔·普伊格(Manuel Puig)小说《El beso de la mujer araña》(1976)的仔细阅读,我认为有必要超越传统叙事中的说话者与观众的辩证关系,走向跨媒介活动,在这种活动中,静态或线性的时间和空间秩序既被复制又被颠覆。通过将表演研究与边界研究和现象学结合起来,这一贡献反驳了关于顺从的观众的假设,同时揭示了娱乐的政治效用。最终,“加倍奇幻,改编卷轴”挑战了“讲故事的人”的含义,以及在政治倡导和行动主义的背景下,什么构成了有用的“故事”。
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Doubling the fantasy, adapting the reel: Entertaining transmediation as a collaborative narrative strategy
Can we move fan participation and the co-creation of storylines outside the sphere of the culture industry to better understand their potential functions for constructing individual subjectivity and empowering social change? With an attention to experiences of migration, exile and detainment, and through close readings of documentary The Wolfpack (2015), HBO’s bilingual horror comedy series Los Espookys (2019) and Manuel Puig’s novel, El beso de la mujer araña (1976), I argue that it is necessary to move beyond a speaker‐audience dialectic, as in traditional storytelling, and towards transmediated activity, where static or linear temporal and spatial orders are both reproduced and subverted. By converging performance studies with border studies and phenomenology, this contribution counters assumptions about submissive viewership while unpacking the political utility of entertainment. Ultimately, ‘Doubling the fantasy, adapting the reel’ challenges what it means to be a ‘storyteller’ and what constitutes a useful ‘story’ in the context of political advocacy and activism.
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来源期刊
CiteScore
1.70
自引率
0.00%
发文量
20
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