Mail (will not be published) (required)
Notify me of followup comments via e-mail
August 18, 2013 at 6:26 am
I have a hard time wrapping my head around this notion of “orientation”. This chapter encompasses practices – and the related ressources – that enable a viewer to make sense of a tv series (such as a character guide), as well as “drilling” practices that reflect a deeper engagement – that may manifest itself through forensic fandom and consumption of all transmedia content -. Are the latter really part of “orientation” practices ? Not sure I am making myself clear here, but I feel there is a major difference between what a “mainstream viewer” could do, like checking out wikipedia to get a plot summary, and the kind of practices a fan could enact, such as actively speculating on a dedicating fan forum or consuming all official paratexts attached to a specific show.
See in context
August 17, 2013 at 11:26 am
As a side note, it would be interesting to confront this categorisation to the average viewer’s lived experience: one that uses online paratexts but that is not a hardcore fan (yet) . What does s/he make of this seeming opposition of fan-made vs industrially controlled orienting paratexts ?
August 12, 2013 at 3:29 pm
Great point – I’ll clarify that distinction here. Thanks for the comments!
August 12, 2013 at 2:24 pm
Sorry for my delayed reply. I’d say these are more in the realm of hype and/or orienting paratexts, but rarely storytelling extensions per se, unless its in-character blogging or posting, for instance. I’m really trying to focus on paratexts that strive to advance the narrative more than just promote engagement.
August 9, 2013 at 10:12 am
I think we agree here – by “opposing vectors” I mean to emphasize the different directions that such practices take (broad spread vs. deep drill). One franchise can certainly embrace both, but rarely with the same textual fragment or paratext – Lost offered a lot of opportunities to drill down, and others to spread out, but I can’t think of one element that did both. I’ll clarify this point (and thanks for commenting – sorry for my delayed reply!).
August 2, 2013 at 10:23 am
Yes, I should nod to that, but without going too far down that rabbit hole that other scholars have already excavated quite well. Thanks!
August 2, 2013 at 10:21 am
Thanks for the catch!
August 2, 2013 at 10:04 am
Yes, this is a complication I should mention. It was actually in the season 2 premiere, but definitely marks the end of his sexual “awakening,” as Skyler lays down limits. It is further complicated by the anti-Skyler attitude of many male fans, who see this moment not as sexual assault or aggressiveness, but Skyler “obstructing” Walt’s manhood.
Thanks for the comment & sorry for my delayed reply!
July 25, 2013 at 12:27 pm
How would you treat the ever-growing field of “social-media” based-initiatives surrounding new and established shows ?
Granted, different type of paratexts can thrive on these platforms – from the Walking Dead Official Facebook game to the fan-driven Madmen Twitter accounts – . But you do not specifically adress these, though they seem to garner a lot of attention from TV execs.
July 25, 2013 at 12:15 pm
Earlier (6), you introduced a difference between different categories of paratexts, distinguishing between orienting paratexts and those that tend to expand the storyworld.
Here, I feel a bit confused, as the fan practices consisting in mapping and cataloguing the canonical universe seem to relate more to the “orienting paratexts” category of practice than the one this chapter adresses. But the lines between categories might be thin…
“However, we can follow Gray’s lead by distinguishing between paratexts that function primarily to hype, promote, and introduce a text, with those that function as ongoing sites of narrative expansion that I will explore here; I would add a third category of orienting paratexts that serve to help viewers make sense of a narrative, as discussed in its own chapter.”