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Whose Century? Narrative Power in Streaming Alternate-History Television
Journal of Popular Film and Television ( IF 0.5 ) Pub Date : 2023-02-21 , DOI: 10.1080/01956051.2022.2145454
Summit P. Osur

Abstract

Although alternate histories have been present since the early days of televised science fiction, the genre didn’t take off until the streaming era of television began. Direct-targeted advertising, a glut of content, the maturation of the genre, and the historical instability of the twenty-first century intersected in the alternate-history genre, making it not only an important artistic genre but an important political one as well. Traditionally, the alternate-history genre, on a whole, has been criticized for its closed narratives that support the Great Man theory of history through an overemphasis on battles and royalty. A case study of six recent televised alternate histories—Russian Doll, Undone, Bandersnatch, Loki, Watchmen, and For All Mankind—shows that the televised version of the genre has matured into a revisionist genre that is focused on the natural determinism and personal agency as well as on the social factors that impact both. Taken together, these six shows suggest a unique maturity in the alternate-history genre, one that questions Anglo-Saxon spheres of narratological power and the very linearity of Western history.



中文翻译:

谁的世纪?流媒体替代历史电视中的叙事能力

摘要

尽管从早期的电视科幻小说中就已经出现了不同的历史,但这种类型直到电视的流媒体时代开始才开始流行。直接定向广告、内容过剩、流派的成熟以及 21 世纪历史的不稳定性交织在交替历史流派中,使其不仅成为一种重要的艺术流派,而且成为一种重要的政治流派。传统上,总体而言,交替历史类型因其封闭的叙述而受到批评,这些叙述通过过分强调战争和皇室来支持伟人历史理论。对最近六部电视转播的交替历史的案例研究—— 《俄罗斯娃娃》、《未完成》、《潘达斯奈基》、《洛基》《守望者》《全人类》-表明该类型的电视版本已经成熟为修正主义类型,专注于自然决定论和个人能动性以及影响两者的社会因素。总而言之,这六场演出表明了交替历史类型的独特成熟,这种类型对盎格鲁-撒克逊叙事权力的领域和西方历史的线性提出了质疑。

更新日期:2023-02-21
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