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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| Veröffentlicht in: | URI:https://journals.openedition.org/interfaces, |
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| Format: | Article ou chapitre numérique |
| Sprache: | Anglais |
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Interfaces
2023
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| Online Zugang: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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openedition-oai:revues.org:interfaces_5605 https://doi.org/10.4000/interfaces.5605 urn:doi:10.4000/interfaces.5605 en https://journals.openedition.org/interfaces/5605 2023-01-23T01:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/h4iq https://creativecommons.org/licenses/by/4.0/ What remains of cinema in TV series? Interfaces Université Bourgogne Europe info:eu-repo/semantics/reference/issn/2647-6754 info:eu-repo/semantics/reference/issn/1164-6225 URI:https://journals.openedition.org/interfaces Jost, François cinéma séries télévisées auteur sériephiles Breaking Bad cinema TV series auteur series fans Breaking Bad 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? La première sémiologie du cinéma considérait que cinéma et télévision relevaient des mêmes codes. Aujourd’hui, les sériephiles refusent un tel rapprochement et les cinéastes ont, quant à eux, une grande méfiance vis-à-vis des séries, comme en témoigne le sélectionneur du Festival de Cannes qui a déclaré en 2018 : « Les séries c’est industriel, les films c’est de la poésie ». Cet article se donne pour but d’examiner ce qu’il reste du cinéma dans les séries en adoptant principalement l’angle du spectateur Il s’agit de répondre aux questions suivantes: qu’est-ce que regarder une série à la télévision ? Sur un DVD ou une plateforme ? Peut-on regarder une série comme un film ? Les réponses sont apportées dans un paradigme pragmatique qui tient compte du rôle de la diffusion, du support de réception et des déclinaisons transmédiatiques. Cela m’amène à différencier la série comme récit et la série comme œuvre et à envisager ces questions : qu’en est-il de l’auteur de film et de l’auteur de série ? Comment regarder une série comme une œuvre ? Quels sont les modèles artistiques mobilisés ? |
| collection |
OpenEdition Journal |
| language |
Anglais |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| topic |
cinéma séries télévisées auteur sériephiles Breaking Bad cinema TV series auteur series fans Breaking Bad |
| spellingShingle |
cinéma séries télévisées auteur sériephiles Breaking Bad cinema TV series auteur series fans Breaking Bad Jost, François What remains of cinema in TV series? |
| description |
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? |
| author |
Jost, François |
| author_facet |
Jost, François |
| author_sort |
Jost, François |
| title |
What remains of cinema in TV series? |
| title_short |
What remains of cinema in TV series? |
| title_full |
What remains of cinema in TV series? |
| title_fullStr |
What remains of cinema in TV series? |
| title_full_unstemmed |
What remains of cinema in TV series? |
| title_sort |
what remains of cinema in tv series? |
| publisher |
Interfaces |
| publishDate |
2023 |
| container_title |
URI:https://journals.openedition.org/interfaces |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/interfaces.5605 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/interfaces/5605 |
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