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Redefining the Anthology

其他書名	Forms and Affordances in Digital Culture
出版	Université de Montréal, 2020
URL	http://books.google.com.hk/books?id=cKVgzgEACAAJ&hl=&source=gbs_api

註釋As the longtime dominant U.S. television business model has been challenged in various ways by industrial and technological changes in recent years, more heterogeneous nar-rative forms have emerged in addition to original serial structures. The diversity of televisual forms became particularly evident since national, local television landscapes started opening up to foreign markets outside of the U.S., finally embracing a transnational, global perspective and tracing alternative value-chains. The transition to internet-distributed television played a pivotal role in this formal fragmentation and new dynamics of online streaming opened up another path for understanding the flow of television content, which today reflects a highly interconnected, networked media and digital environment. Indeed, the proliferation of video-on-demand services is forcing seriality to adapt to the contemporary mediascape, giving rise to audiovisual products that can be transferred online and present specificities in production, distribution and reception. One of the outcomes of such changes in U.S. television series at the dawn of the twenty-first cen-tury is the anthology series divided in different seasons with separate stories, yet linked by tone and style. My research positions itself in such a technological, industrial and cultural context, where television content is increasingly fragmented. Given such a fragmentation, this thesis con-siders the ways contemporary television content is distributed in the interaction between algo-rithmic-driven recommendation processes and more traditional editorial practices. The aim of the project is to investigate the way certain narrative structures typical of the anthology form emerge in the context of U.S. television seriality, starting from specific conditions of production, distribu-tion and consumption in the media industry. By focusing on the evolution (temporal, historical dimension) and on the digital circulation (spatial, geographic dimension) of U.S. anthology se-ries, and observing the peculiarities in their production and style, as well as their distributional networks and the consumption patterns they foster, this thesis ultimately insert itself into a larger conversation on digital-cultural studies. The final purpose is to examine the relation between an-thological forms, distribution platforms and consumption models, by proposing a comparative approach to the anthology that is at the same time cross-cultural, cross-historical, cross-genre and accounting for both pre- and post-digital practices for cultural content organization.