What remains of cinema in TV series?
The early semiology of cinema considered that cinema and television obeyed the same codes. Today, TV series lovers refuse such a similarity, and filmmakers, in turn, have a great distrust of TV series, as evidenced by the Film Selector of the Cannes Film Festival who, in 2018, said: “Series are indu...
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| Dans: | URI:https://journals.openedition.org/interfaces, |
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| Auteur principal: | |
| Format: | Article ou chapitre numérique |
| Langue: | Anglais |
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Interfaces
2023
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| Accès en ligne: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Résumé: | The early semiology of cinema considered that cinema and television obeyed the same codes. Today, TV series lovers refuse such a similarity, and filmmakers, in turn, have a great distrust of TV series, as evidenced by the Film Selector of the Cannes Film Festival who, in 2018, said: “Series are industrial, films are poetry”.The present article aims to examine what remains of cinema in TV series, by answering the following questions: What is to watch a series on television? On DVD, or on a platform? Do we watch a series in the same manner as a movie? The answers follow a pragmatic paradigm that considers the role of programming, the choice of video displays, and transmedia versions. This leads me to distinguish between series as narratives and series as works of art, and to consider these questions: What about film authors and series authors? How to watch a series as a work of art? What are the artistic models mobilized? |
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