Time, Technology and Narrative Form in Contemporary US Television Drama

Offers a unique and detailed account of new narrative temporalities in television drama by adopting a model of industrial poetics

Argues that the emergence of new narrative temporalities means that TV drama should be approached through the lens of narrative time

Examines a wide range of narrative temporalities and key texts, including real-time (24), acceleration (Prison Break), non-linear time (Lost), prolepsis (FlashForward), and slowness and retrospection (Mad Men, Rubicon)

Situates US television programmes in a transnational context, and examines contemporary narrative form and the temporal regimes of an increasingly global industry

Autorentext
JP Kelly is Lecturer in Television and Digital Media at Royal Holloway College, University of London, UK. He has published original research and reviews in The Conversation, CST Online, The Journal of Popular Communication, The Journal of American Studies and Convergence*.

• Inhalt

1. INTRODUCTION.- 2. PART I. POWER ON - A (Very) Brief History of Time: From Analogue to Digital.- 3. The Temporal Regimes of TVIII: From Broadcasting to Streaming.- 4. PART II. ACCELERATION - In the Perpetual Now: Split-Screens, Simultaneity & Seriality.- 5. A Stretch of Time: Extended Distribution & Narrative Accumulation.- 6. PART III. COMPLEXITY - Time Shifting in TVIII: The Industrial, Textual & Paratextual Complexities of Prime Time Drama.- 7. 'Remembering What Will Be': Prolepsis, Pre-sales, & Premediation in TVIII.- 8. PART IV. RETROSPECTION - Deja View: Media, Memory & Marketing in TVIII.- 9. CONCLUSION -Previously On: Recapping the Narrative and Distributive Temporalities of TVIII.