Difficult men: behind the scenes of a creative revolution: from The Sopranos and The wire to Mad men and Breaking bad

2014 ◽  
Vol 51 (09) ◽  
pp. 51-4846-51-4846
Keyword(s):  
Breaking Bad ◽  
Mad Men ◽  
The Sopranos ◽  
The Wire

Tv-serien som vor tids roman?

2012 ◽  
Vol 27 (68) ◽  
Author(s):  
Jakob Isak Nielsen
Keyword(s):  
The Novel ◽  
History Of The Novel ◽  
Mad Men ◽  
The Sopranos ◽  
Art Forms ◽  
History Of ◽  
The Wire

Jakob Isak Nielsen: "Tv-serien som vor tids roman?"AbstractJakob Isak Nielsen: “The TV Series as the Novel of our Time?”In recent years contemporary TV series – particularly American one-hour drama series such as The Sopranos (HBO, 1999-2007), The Wire (HBO, 2002-2008) and Mad Men (AMC, 2007-) – have often been likened to many of the canonic works within the history of the novel. This article discusses the validity of this hypothesis byhighlighting a number of similarities between the two art forms before ultimately demonstrating how they differ from each other and how they are best understood as products of particular media-systemic circumstances.

scholarly journals You’re Part of Something Bigger: Macrorealist TV

2014 ◽  
Author(s):  
Liz Maynes-Aminzade
Keyword(s):  
Breaking Bad ◽  
The Sopranos ◽  
The Wire

“Dickensian” has become a buzzword in recent TV criticism not only because the term connotes a large character ensemble, but also because it connotes adiffuseensemble. In TV series such asThe Sopranos, The Wire,andBreaking Bad, many characters live and work so far apart from each other—whether in different neighborhoods of a city or different regions of the globe—that they fail to recognize how their actions affect each other. Through its wide spatial scope, this type of macroscopic “stranger narrative” explores a type of ethical confusion that is a byproduct of globalization. Namely, these narratives reveal to readers or viewers how they might be connected to and responsible for people they don’t even know.

scholarly journals Aproximaciones teóricas:

2020 ◽  
pp. 9-10
Author(s):  
María de Lourdes López Gutiérrez
Keyword(s):  
Breaking Bad ◽  
House Of Cards ◽  
Mad Men ◽  
The Walking Dead ◽  
The Sopranos ◽  
Walking Dead ◽  
Game Of Thrones

En la actualidad, son pocas las personas que no están enganchadas con una serie de televisión; aun los cinéfilos más agudos o los entusiastas detractores de la televisión han caído en la tentación, y algunos en las redes, de Breaking Bad (AMC 2008), Game of Thrones (HBO 2008), House of Cards (Netflix 2013), The Sopranos (HBO 1999), Lost (ABC 2004) , Mad Men (AMC 2007), The Walking Dead (AMC, 2010), Stranger Things (Netflix, 2015), Black Mirror (House of tomorrow, 2016), o de otras series que podemos considerar “canónicas” en esta etapa de resurgimiento de la ficción televisiva como vía de entretenimiento. Las múltiples formas que permiten su visionado han abonado a su éxito y se han colado en los intersticios de las actividades cotidianas facilitando el acceso a sus contenidos sin muchas restricciones de espacio o de condiciones tecnológicas.

scholarly journals “MULHERES DIFÍCEIS”: A anti-heroína na ficção seriada televisiva americana

2018 ◽  
Vol 25 (1) ◽  
pp. 27007
Author(s):  
Mayka Castellano ◽  
Melina Meimaridis
Keyword(s):  
Mad Men ◽  
The Sopranos

Tendo em vista a expressiva quantidade de séries televisivas centradas em anti-heróis com destaque nas últimas décadas, tais como The Sopranos, Mad Men e Dexter, este artigo busca pensar a figura da anti-heroína. Para isso, apresentamos uma perspectiva histórica sobre a representação das mulheres nesse tipo de produção, destacando papéis recorrentes e suas implicações sociais. Para problematizar o contexto contemporâneo, quando personagens femininas mais complexas começam a aparecer, tomamos como objeto central da análise o drama UnREAL e partimos do pressuposto de que, embora apontem uma diversificação nas formas de representação da vivência feminina na ficção, as anti-heroínas são construídas através da aproximação ora com elementos tradicionalmente associados ao universo masculino, ora com habituais estereótipos de gênero.

scholarly journals Reivindicar el detalle: sutilezas y catálisis barthesianas en la ficción televisiva

2019 ◽  
Vol 22 (3) ◽  
pp. 1-29
Author(s):  
Shaila Garcia Catalan ◽  
Teresa Sorolla-Romero ◽  
Marta Martín Núñez
Keyword(s):  
Roland Barthes ◽  
Breaking Bad ◽  
Mad Men

Este artículo rastrea la importancia de las catálisis, tal y como las formula Roland Barthes (1968), para asignar valor a los detalles en la descripción en las narrativas. Partimos de su hipótesis según la cual lo aparentemente insignificante del relato es lo que produce el efecto de realidad y proponemos pensar las series televisivas contemporáneas desde lo aparentemente inútil en el relato. Para ello, analizamos desde una perspectiva semiótica cuatro casos de estudio paradigmáticos que se han distanciado de los mecanismos convencionales de enganche y espectáculo y han apostado formalmente por la sutileza y la atención al detalle: la dialogada En terapia (In Treatment, Hagai Levi, Rodrigo García, HBO: 2008-2010), la hiperestilizada Mad Men (Matthew Weiner, AMC: 2007-2015), la irreverente Breaking Bad (Vince Gilligan, AMC: 2008-2013) y la siniestra True Detective (HBO: 2014-). Los análisis revelarán cómo en las catálisis de estas ficciones televisivas se pone en juego lo que es difícil de explicar incluso dotando de verosimilitud a lo fortuito, intrascendente e incluso inexplicable.

scholarly journals Stranger Things: Complex Serial, Complex Industry. The Institutional, Cultural, and Textual Significance of Internet-Distributed Television

2021 ◽  
Author(s):  
◽  
Caitlin Grandy
Keyword(s):  
The United States ◽  
Distributed Networks ◽  
Cultural Significance ◽  
Television Industry ◽  
Breaking Bad ◽  
Cable Networks ◽  
The Sopranos ◽  
The Us ◽  
Streaming Services

<p>This thesis explores the emergence and significance of internet-distributed television by unpacking the industrial, cultural, and textual ramifications of programming originated for an online context. As one of the foremost streaming services both globally and within the United States, Netflix will be the central focus of this thesis. The programmes that Netflix originates facilitate discussions around the potential of this network and its online platform to encourage innovation and novelty in its long-form TV drama. Netflix’s Stranger Things (2016–), a programme concept that was reputedly rejected by a number of cable networks before being accepted by Netflix, provides a compelling case study of the creative possibilities afforded by streaming capabilities.  This exploration is structured into three chapters. The first examines the environmental and institutional factors of the US television industry from which internet-distributed networks emerged. This chapter also explores the different economic models and the associated storytelling methods of each. Chapter 2 demonstrates the cultural significance of streaming on consumption behaviours and explores how broadcast, cable, and internet-distributed TV networks conceive of and pursue audiences. The analysis of several seminal TV dramas, such as The Sopranos (HBO 1999-2007), Game of Thrones (HBO 2011-2019), and Breaking Bad (AMC 2008-2013), provides comparisons from which to better understand the significance of Stranger Things to both the network that commissioned it and to the American television industry at large. The third chapter offers a detailed analysis of Stranger Things as an exemplar of Netflix’s ability to commission what Trisha Dunleavy (2018) terms the ‘complex serial drama’ and in doing so emulate the successful strategies first deployed by US cable networks.</p>

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