986: 12 P

Running head: FILM 1

FILM 5

Film

Name

Institution

Film

The TV Series for my Viewing Project

24 is regarded as one of the most renowned scripted programs which initially endured a tumultuous first three seasons. This series epitomizes the instructive window upon which alteration in television storytelling has been witnessed in the 21st Century. The series assumes a seemingly unconventional narrative format where each episode focuses on highlighting an hour of storytime which is recounted in "real time". Moreover, 24 incorporates the use of counting clocks, split screens and other self-conscious instruments uncharacteristic of traditional television. Even the title of the show defines how the story will be told that is, 24-hour-long installments which are equivalent to an entire day in the life of the main character Jack Bauer instead of concentrating on anything notable about the plot of the show itself. The show's popularity progressed gradually although the first season was somehow weak, 24 lasted a whole eight seasons and even made a comeback recently in 2014. Additionally, 24 cemented its position as an acclaimed series as it has consistently appeared in the top 30 yearly ratings for much of the decade (Mittell, 2015). Equally important is the fact that 24 focuses on gender norms in a more conventional form wherein the first season, a hypermasculine hero strives to rescue his wife and daughter from the trappings of terrorist. Besides, the program depicts a range of racial and ethnic actors who are distinct in resistance to their white heroes. This development depicts the development of unchartered waters in the characterization of 21st Century films which focuses on the representation of minority groups.

Perspectives for the Viewing Project

Celebrated television writers insist characterizations as being a fundamental focal point which supports the creative process and doubles up as a measure of success. This implies that if a film is able to create compelling characters, the storylines and scenarios are likely to follow the same process. Furthermore, the directors, actors, and writers focus most of their energies in creating fully recognized characters since the plot and storylines are predominantly built around them. This phenomenon is especially true for moving-image media such as television and film where a given character is regarded as being self-evident and bound by conventions of stardom and performance.

The concept of narrative television is heavily dependent on the functionality of collaborative teams where individuals participate in the production process of each episode as a team. Accordingly, the ascription of the authorship process becomes difficult particularly when one attempts to import literary modules of autonomous authors.

The role of authorship in serial television revolves around three facets namely the parameters of creativity in authorship of series, the comprehension of television authorship and how the audience perceives television authorship. Consequently, these components espouse the fundamental process of the audiences’ engagement in serial television.

Technological transformations have facilitated the emergence of the concept of transmedia storytelling in serial television with techniques becoming increasingly diverse. Indeed, the advent of technology has facilitated the proliferation of digital platforms such as computer games, blogs online videos and DVD supplements which present ideal opportunities for the expansion of the narrative universe. Consequently, the 21st Century has been marked by changes in production where directors of films integrate the use of aspects such as social media platforms to facilitate engagement throughout screens (Mittell, 2015). Consequently, the narrative is expanded and propagated by viewer-driven conversation and sharing within what is commonly termed as “second screen” experiences.

Orienting paratexts refers to the principle whereby the viewer is encouraged to seek external information with the objective of being in a better position to understand the plot of a series. Essentially, the viewer would be able to understand how the pieces in the plot fit together or even propose other ways of developing the plot which may not be apparent in the original narrative design (Mittell, 2015). Hence, linking a text to a paratext regardless of whether it is created by the audience or sanctioned officially amounts to how a viewer digests the original concept.

Reference

Mittell, J. (2015). Complex TV: The poetics of contemporary television storytelling. NYU Press.