Lecture 10: Cable: It’s not just TV

Lecture 10:Cable: It’s not just TV Professor Daniel Cutrara 1

Previous Lesson • True Stories • The Positively True…

This Lesson • TV and Film Convergence • Narrative Complexity • Deadwood • Assignments

TV and Film Convergence Lesson 10: Part I 4

Divergence • The 20th Century Division • Film as pre-eminent form • Television as “second class” • “Caste system” for producers and directors • Film Stars avoiding over exposure • TV Stars- why would audiences pay to see them?

Convergence • The Breakdown • 1990s, increasing crossover • Film stars find it a lucrative deal • TV stars break out • Film Directors and Producers try their hands at television. Film Director James Cameron

Style • TV camera work and editing becomes filmic • Network, NYPD Blue • Pay Cable • Narrative free to explore filmic topics

Narrative Complexity Lesson 10: Part II 8

What is it? • Traditional Television Narrative • Episodic or Serial • Narratively Complex Television • Jason Mittell’s article • Integration of serial and episodic • Reversal of soap opera serial conventions-ongoing character relations emerge from plot rather than plot from character relations. • Importation of art film conventions

Evolution • Star Trek: The Next Generation • Episodic plot • Serial relationships • Character arc over the course of seasons.

Narrative Tensions • Each episode must serve two masters. • The episode’s central plot • The overarching mythology of the series • The X Files, Buffy: The Vampire Slayer

Art Film Conventions • Major reveals that redefine the whole scenario a la Usual Suspects • Retelling Rashomon style • Use of Fantasy Sequences • Non-linear flashbacks • Real Time like Run Lola Run

Sitcom Complexity • Seinfeld • 4 Storylines that initially appear random • Simpsons • A world that resets • Scrubs, Arrested Development • Voiceover that breaks the 4th wall

Traditional Audience Reception • Traditional narratives engage audiences with their characters, story, and themes. • Fans engage in discussion over: backstory, character development, meaning. • They are caught up in the story not the storytelling.

Narratively Complex Audience Reception • Narratively complex series engage audiences around the mechanics of storytelling and the story itself. • Fans try to figure out the conventions, and how they distort the story and its meaning. • Ideally they are engaged by both. Caught up in the narrative and caring about the characters at the same time they puzzle through the way the story is told.

Deadwood Lesson 10: Part III 16

The Creator • David Milch • His career takes him from writer to showrunner • Hill Street Blues • NYPD Blue • Deadwood • John from Cincinnatti

The Concept • In the Wild West, settlers must form their own community in a town that exists outside the rule of law. • Based on the historical Deadwood, South Dakota.

The World of the Story • The town reflects the different elements of society. • The Doctor • The Preacher • The Reporter • The Upper Class • Commerce • Gambling, Prostitution

Narrative Convergence • The Western reconceived. • Explicit language and nudity- Adult Western • Not found in TV Westerns • Pushes the genre beyond Unforgiven • Flawed characters • Immersing audience in the lawlessness

Historical Characters • The representation of historical characters may be more authentic but not what we expect. • Wild Bill Hickock • addicted to gambling • Calamity Jane • alcoholic

Lawlessness • Pause the lecture and watch the first clip from Deadwood. • What is the shock value of this scene? • How does it prepare the audience for what is to come?

Lawlessness (Cont’d) • What is the shock value of this scene? • A man survives briefly with a hole through his head, i.e. pushing the boundaries of life. So too the boundaries of the genre will be pushed. • Disposing of the body • Feeding the pigs a human body

Visual Convergence • Pause the lecture and watch the second clip from Deadwood. • Notice the visual aesthetics. • Does this look emulate that of a feature film?

Visual Convergence (Cont’d) • Filmic Cinematography • Beautiful Landscape • Slo-mo enhancement • Artistic reflection in the water

Narrative Style • Narrative Complexity • Episodic • Storylines beginning and ending within an episode. • Serial • Storylines carry through • The overarching concern of this world is how will these people govern themselves

Storylines • The pilot sets up and resolves the massacre of the family, although there is a loose end. • The pilot also sets up a number of ongoing storylines. • Al Swearingen and the Gem • Who will control the town? • The massacre of the family will threaten Swearingen. • Seth Bullock and Sol Starr • Will Seth Bullock settle for being a Hardware Man or will he take up law enforcement in a lawless town?

Storylines (Cont’d) • Wild Bill and Calamity Jane • Introduces Wild Bill’s killer, and a ticking clock. • Alma Garrett and Brom • The Upper Class and drug addiction. How will they survive in this town? • Trixie and Al Swearingen • The trap of domestic violence. Will Trixie escape alive?

Trixie • Pause the lecture and watch the third clip from Deadwood. • How does this set up their relationship? • How is it paid off later in the pilot? • What expectations does it create for the future episodes?

Trixie (Cont’d) • A love hate relationship. • The assault onTrixie is paid off toward the end of the episode. This relationship becomes a ticking time bomb. • Opportunities for betrayal and being caught • Audience left in suspense

The Wrap Up • It’s not just TV • Convergence of Film and Television • Narrative Complexity • Deadwood

Assignments Deadwood Lesson 10: Part IV 32

E-Board Post #1 • Approximately 200 words. Watch an episode from a tv series, cable or network. Explain why and how a show does or does not have narrative complexity. • Comment on two of your peers.

End of Lecture 10 Next Lecture: Shifting Mediums One Flew Over The Cuckoo’s Nest (1975) Ken Kesey (novel) Laurence Hauben and Bo Goldman (screenplay)

Lecture 10: Cable: It’s not just TV