Month: June 2011

Florian Groß über 30 Rock: Vortrag in Regensburg

Auch Florian Gr0ß hält einen Vortrag auf der DGfA-Jahrestagung in Regensburg. Hier ist sein Abstract:

A Kinder, Gentler Americanization?: Transnational Cool and 30 Rock

International audiences often consume U.S. television series with surprising effects, as Ien Ang has shown with respect to the subversive global reception of Dallas and audiences’ critical take on the show’s celebration of capitalism. Yet, many recent television series seem to be aware of this subversiveness and deliver it already built-in. Especially genre-bending and style-conscious shows of the high profile Quality TV-variety routinely feature non-conformist characters and voice criticism of global corporate capitalism.

I want to trace this phenomenon through a case study of the television series 30 Rock, a metafictional NBC-comedy about the production of a live-action NBC show. The show mocks, criticizes and debunks corporate America and the global impact of U.S. media while at the same time being an international commodity itself. As such, it perpetuates a development that McGuigan has called “cool capitalism,” whose major aspect “is the incorporation of disaffection into capitalism itself.”

By focusing on 30 Rock’s construction of a particular audience defined by taste rather than nationality, I want to read its mocking representation of U.S. capitalism as a contemporary inflection of Americanization connected more to processes of heterogeneity than a homogenizing ‘Coca-Colonization.’ 30 Rock may never be a global phenomenon on a large scale like Dallas. Still, its international impact shows how contemporary ‘narrowcasting,’ through which certain groups of viewers rather than large masses are addressed, can become a transnational phenomenon. The imagined global community of shows like 30 Rock consists of active and subversive viewers who see themselves as parts of a subculture critical of globalized U.S. capitalism—and nevertheless consume a product tailored to their tastes by a culture industry that imagines a strikingly similar group. I want to argue that this paradox can only be resolved if we find a cultural analysis that mediates between the hope that audiences are critical subversives and the fear that they are passive ‘cultural dupes,’ and comes up with a third way of analyzing consumer capitalism.

“Frame, Sequence, Medium”: Vortrag in Regensburg

Auf der Jahrestagung der Deutsche Gesellschaft für Amerikastudien in Regensburg wird Shane Denson einen Vortrag über Comics am 18.06.2011 halten. (UPDATE: Mittlerweile ist eine Video-Version des ganzen Vortrags auch online: hier.) Hier das Abstract:

Frame, Sequence, Medium: Comics in Plurimedial and Transnational Perspective

Shane Denson

In this paper, I argue that careful attention to some of the basic formal properties of comics calls not only for comparisons with analogous properties of other media, but for appreciation of the fact that comics themselves exhibit a strong tendency towards imbrication in robustly “plurimedial” contexts, such that comics as a medium must be seen as a nodal unit in larger, non-reducible networks of mediation. Setting out from a rather formalistic consideration of comics’ techniques of visual and narrative framing and sequencing, and drawing on observations made by Derrida and others, I identify a set of crucial liminalities and reversible oppositions—e.g. between the inside and outside of framed panels, between the temporal and spatial orderings of sequences—that are centrally at work in, and perhaps even partially constitutive of, the medium of comics. At the limit, this formal-phenomenological investigation suggests that liminality or marginality pertains not only to the “internal” relations or constitution of the medium, but that it is also a basic fact of comics’ “external” relations to other media. Above all the serial forms typical of comics’ narration witness the medium positioned in an emphatically plurimedial field, where boundaries are continually negotiated, annexes claimed, and permeable borders policed. The figures that populate comics series, in particular, move between diegetically closed narrative worlds, the integrity and continuity of which is often highly strained, and open multiverses that encompass not only alternative realities within the medium of comics but also alternative existences in other media as well. Attention to the way that serially and plurimedially instantiated figures (such as Batman and Superman, but also Frankenstein or Tarzan) negotiate the relations between diegetically open and closed serialities promises, finally, to shed media-theoretical light on the social question of the dynamics of comics’ transnational reception—which involves superheroes and other comic figures in both global and local contexts, in internationally standardized forms and national or regional adaptations. In a different context, Benedict Anderson has identified a competition between “bound” and “unbound” serialities at work in the modern constitution of nations as “imagined communities”—a competition, that is, between the totalizing closure of a territory and numbering of its occupants as effected by a national census, as opposed to the categorically open and ongoing iterability and reproducibility of events as modeled in the media of newspapers and photography. Refocusing Anderson’s perspective onto comics’ serial and plurimedial negotiations of “bound” and “unbound” formations—understood in relation to the marginalities and reversible boundaries that mark the frames, sequences, and media of popular culture—I aim to link comics’ plurimedial relations and their transnational imaginings through seriality as a locus of ambiguous intersection and border-crossing.