Reivindicar el detalle: sutilezas y catálisis barthesianas en la ficción televisiva

Catalán, Shaila García; Romero, Teresa Sorolla; Núñez, Marta Martín

doi:10.5294/pacla.2019.22.3.3

Cited by 4 publications

(2 citation statements)

References 5 publications

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“…It is also related to Roland Barthes' idea of "catalysis" (2005), or that which is useless to the action. Shaila García- Catalán et al (2019) argue that catalyzes allow description and shape the character. Lastly, boredom (Terrasa Torres 2022) is an important potential ingredient of slow games.…”

Section: Death Stranding Collapse and Slownessmentioning

confidence: 99%

Ecogames

2024

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This series is a critical starting point for readers interested in the growing field of green media studies as a subdiscipline within the environmental humanities and social sciences. It examines the ways in which 'Green Media' can influence the public's awareness and understanding of environmental issues and the ecological impact of media technologies.Contemporary media are increasingly used to support and frame environmental action by companies, NGOs, activists and related groups, as well as to persuade people to adopt more sustainable lifestyles. Because environmental justice and social justice are intrinsically interconnected, the 'Green Media' series seeks to research how people might become global ecological citizens. It introduces the readers to key environmental issues as these are represented in-and connected to the production, distribution and consumption of-videogames, VR, social media, data visualizations, transmedia, film, documentaries, television series, theatre and more.The underlying questions are: How do green media construct forms of civic engagement on a micro, meso and macro level? How do we conceptualize the impact of green media from a media-comparative perspective? How can green media help transform existing industries as well as corresponding cultural and business practices? What is the ecological footprint of media production, distribution and consumption, and how could sustainable alternatives look like?In the 1970s, a select audience of computer nerds, economists, and museumgoers had the opportunity to engage with the original "Ecogame." Designed by the Computer Arts Society, Ecogame (1970) was a video game as well as an art installation and a multimedia information architecture (Stott 2021). The game simulated a national economy, allowing players to make decisions regarding resource allocation, showing them the consequences of their actions via slides projected onto the walls, indicating the mood of the nation. Depending on your performance, they might show "dole queues, civic unrest, and environmental degradation" (Stott 2021, 47). Two decades later the audience for these sorts of playful experiments would be vastly expanded. Writing from Australia in 1994, McKenzie Wark recounts turning to the early internet in her struggle to keep the biosphere safe from both global warming and nuclear winter in playthroughs of SimEarth (Maxis 1990), a game that allows players to tinker with the parameters that determine life on Earth. Ecogames were no longer confined to museums and conferences, they had come home, and were living inside people's desktops. In the twenty-first century, ecogames are even more prevalent, not just because you can choose to play a quick game of Beecarbonize (Charles Games 2023, see Figure 0.1) on your mobile phone on your way home from work, but because themes of climate collapse and environmental engagement have begun to dominate mainstream media, showing up in games more generally, both digital and analog. This book collects scholarship on this subject, exploring the ...

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Section: Death Stranding Collapse and Slownessmentioning

confidence: 99%

Ecogames

2024

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“…Another element is the partiality among spectators for the version of the same show produced by the BBC: a political drama focused on the highest levels of government and, finally, an audience willing to subscribe to a long-term reading pact, which favors the screening of a TV series in a binge, or marathon viewing, a phenomenon typical of the new audiovisual consumption fueled by viewership voracity (García Catalán et al, 2019). This explains why Netflix released the first season, which consists of 13 chapters, in a single installment (Murolo & Aon, 2018;Carrillo Bernal, 2019;Pilipets & Winter, 2017).…”

Section: Introductionmentioning

confidence: 99%

The concept of power and its representation in television seriality. The case of «House of Cards»

López-Gutiérrez

Flores-Ivich²

2022

Communication & Society

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To study how power is configured, this article analyzes the first and second seasons of the TV Series House of Cards. The behavior patterns of the main character, Frank Underwood, were tracked to analyze his foundations, the means used, the scope and the type of power he wields. The theoretical approaches of Dahl (1957) and French and Bertram (1959) were used for constructing a group of categories that served as a guide in the search for index units. Therefore, the methodology is based on units (Barthes, 1970) identified within the dialogues, the iconic composition, and the actions of the character. The results obtained reveal that in the first season argumentation as a means to exercise power predominates, and manipulation predominates in the second season. Also, the media repertoire is much broader in the first season when the main character builds the scenarios to achieve his goals. These findings contribute to the construction of a broader understanding of power and its exercise.

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Estudio del largometraje animado de la leyenda de La Llorona

2022

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Desde sus inicios, el cine estuvo fuertemente ligado con la literatura a partir de las adaptaciones de novelas, la divulgación del patrimonio literario, el análisis de la subjetividad, la teoría de los géneros, la aplicación de las categorías de la narratología para el estudio de las especificaciones fílmicas, entre muchos otros. Este estudio toma dos relatos literarios y los compara a través de orientaciones metodológicas y teóricas de la narratología con la versión animada de La Leyenda de la Llorona, para determinar similitudes y diferencias. Asimismo, analiza ciertos elementos del lenguaje cinematográfico que tienen concordancia con las obras literarias para entender que los vuelve diferentes y específicos.

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Reivindicar el detalle: sutilezas y catálisis barthesianas en la ficción televisiva

Cited by 4 publications

References 5 publications

Ecogames

Ecogames

The concept of power and its representation in television seriality. The case of «House of Cards»

Estudio del largometraje animado de la leyenda de La Llorona

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