Teknik penerjemahan ungkapan sindiran pada subtitle serial televisi netflix: Bridgerton

This article is a descriptive qualitative study. The aims of this study are to identify types of satirical expression and identify the translation techniques used to translate the satirical expression found in serial television subtitle entitled ‘Bridgerton’. The utterance contains satirical expression found in 5 episodes of the serial television used as data in this research—the data obtained through content analysis. There are four types of satirical expression analyzed in this research; irony, satire, cynicism and sarcasm. Furthermore, the result suggests that there are 66 data of satire, 49 data of cynicism, 29 data of sarcasm, and 27 data of irony. On the other hand, there are 13 translation techniques applied in translating the utterance of satirical expression. The most dominant technique used is reduction (29) followed by discursive creation (23), established equivalent (23), literal translation (22), compensation (21), linguistic compression (20), transposition (14), modulation (8), linguistic amplification (4), borrowing (3), particularization (2), adaptation (1), dan substitution (1). The use of reduction technique is to shorten the subtitles that appear on the screen.

“You See Everything”

Chapter 2 concentrates on implicit cinematic references in serial television, ones that seem to flash up suddenly and perhaps even inadvertently. References are usually seen as synonymous with invocations, which entail the active summoning of sources, whereas this chapter relies on evocative references, which seem more random or unmotivated and often non-canonical. Using Mad Men’s (AMC, 2007–15) myriad evocations—ones that exceed the usual references to Billy Wilder’s The Apartment (1960) or Jacques Demy’s Model Shop (1969)—this chapter demonstrates how a series engages with cinema to talk about a particular era. It concludes with this paradox: the more authored a series, the wider its set of unintended intertextual connections might be.

Introduction

The introductory chapter creates a framework for exploring how serial television has become cinematic. It traces the evolution of television, while interrogating the implications of assuming that television advances when it approximates the features of cinema. Then, it constructs the framework of intertextuality for analyzing the varied ways in which serial dramas borrow from cinema. Some series honor or deride their cinematic sources; others offer homage or resistance not only to specific films but also to the idea of cinema in general. Instead of the standard narrative about television imitating cinema’s aesthetic status, this chapter offers a methodology for investigating how serial dramas absorb and revise (primarily) American cinema. Finally, it argues that contemporary serial television exhibits an archival relationship to cinema, for cinematic moments, motifs, and contours hover around the televisual frame, constantly breaking through. How serial dramas handle such cinematic hauntings is the story that this book tells.

Renegotiating quality TV in the Swedish press

In this article, I explore the reception of American “quality” serial television in Sweden from 1999 to the mid-2010s. My analysis includes how cultural critics and journalists writing for Sweden's leading newspapers conceptualised American serial television as “quality TV” and as legitimate “art”, and it charts the ways in which these discourses relate to the reconfiguration of Swedish television from public service monopoly to niche-oriented multichannel system. The analysis uncovers a process of cultural consecration that was based on comparisons with already consecrated art forms, applications of authorship discourses that promote certain individuals as genius television auteurs, and deployment of critical protocols borrowed from literary criticism – all in service of pre-established cultural hierarchy and “good taste”. This article also highlights the ubiquity of American quality serial television across the Swedish television landscape, which suggests that such programmes represent both a niche product and a mass phenomenon with extensive reach and multidimensional appeal.

‘You Know the Business and I Know the Chemistry’: The Scientific Ethos of Breaking Bad

We conduct an analysis of the American television drama Breaking Bad as a show that resists the label of 'science fiction', while its use of scientific imagery and discourse create what we call a 'scientific ethos'. This essay explores the use of science as an appeal to intelligence and credibility in Breaking Bad. We include a theoretical discussion of how ethos emerges in serial television narratives, an analysis of the show's textual construction of its ethos, and a discussion of the intertexual and social effects of that ethos. Finally, we recommend the adoption of a rhetorical perspective in analysing how images of science circulate in fictional texts.

TV antiquity

TV antiquity explores representations of ancient Greece and Rome throughout television history. It is the first comprehensive overview of the genre in television. More specifically, the author argues that serial television set in antiquity offers a perspective on the ancient world quite distinct from their cinematic counterparts. The book traces the historic development of fictional representations of antiquity from the staged black-and-white shows of the 1950s and 60s to the most recent digital spectacles. A key argument explored throughout the book is that the structure of serial television (with its focus on intimacy and narrative complexity) is at times better suited to explore the complex mythic and historic plots of antiquity. Therefore, the book consciously focusses on multipart television dramas rather than made-for-TV feature films. This enables the author to explore the specific narrative and aesthetic possibilities of this format. The book features a range of insightful case studies, from the high-profile serials I, Claudius (1976) and Rome (2005-8) to lesser known works like The Caesars (1968) or The Eagle of the Ninth (1976) and popular entertainment shows such as Hercules: The Legendary Journeys (1995-9) and STARZ Spartacus (2010-3). Each of the case studies also draws out broader issues in the specific decade under consideration. Consequently, the book highlights the creative interplay between television genres and production environments and illustrates how cultural and political events have influenced the representations of antiquity in television.

The ancient world as serial television drama

When Samsung introduced its new curved television screen in 2014, I was struck not by the technology but by its official television advert. Rather than using science fiction or another ultra-modern environment to showcase this innovative new gadget, the advertisement featured a father and son in their pyjamas in the middle of a gladiatorial arena. All the tropes of screen antiquity were represented in the 30-second clip: the crowds, the arena, the evil emperor and of course the gladiators with their swords and sandals that defined the genre. What this advert encapsulated for me was not only that the audience’s interest in antiquity was alive and well, but also that there was an intrinsic connection between fictional antiquity and the (no longer so) small screen....