SKAMs ’lige her’ og ’lige nu’ : Om SKAM og nærvær

Abstract

The article discusses strategies for creating presence in space and time in SKAM, in particular the way the series unfolds as event and its extended use of close-ups. Moreover, the article discusses Bolter and Grusin’s understanding of immediacy and argues that the many mobile screens as well as the series’ cross-mediality, or hypermediacy, contribute to the creation of an impression of being close to the characters and their world, in time and space.

Viewing, listening and reading along: Linguistic and multimodal constructions of viewer participation in the net series SKAM

“…Sundet (2017) outlines narrative devices used in SKAM to establish emotional investments for viewers and suggests that, besides the use of reel time and social media to distribute clips and information about the characters on various platforms which aff ord active participation from SKAM viewers, SKAM is a character-driven drama which invites viewers to take the perspective of the main character. Jerslev (2017) focuses on how a sense of presence and immediacy in the here and now is invited through audio-visual strategies of the production. In terms of time, Jerslev suggests that the written indications of time that clips are initiated with and that match the distribution time as well as the unpredictability in terms of the distribution time are devices to create presence for the viewer.…”

“…In terms of time, Jerslev suggests that the written indications of time that clips are initiated with and that match the distribution time as well as the unpredictability in terms of the distribution time are devices to create presence for the viewer. Th is means, as Jerslev (2017) points out, that the viewers cannot prepare for the event in advance and this contributes to inviting an intense viewing event. In terms of place, Jerslev (2017) suggests that close-ups are used as a strategy to create immediacy.…”

“…Th is means, as Jerslev (2017) points out, that the viewers cannot prepare for the event in advance and this contributes to inviting an intense viewing event. In terms of place, Jerslev (2017) suggests that close-ups are used as a strategy to create immediacy. Supplementing Sundet (2017)'s point that SKAM is characterdriven, Jerslev (2017) observes that viewers are oft en presented with talking and listening faces.…”

“…For this purpose, we combine perspectives from linguistic-multimodality studies of modes for communication and studies building on Goff man's (1981) work on participation frameworks, i.e. the various ways of participating in co-present and/or mediated communication.Th e article aims to complement existing media studies of immediacy in SKAM and viewers' sense of co-presence with characters in the net series (Jerslev, 2017, Sundet, 2017. It does so by showing how participant frameworks are multimodally constructed at a fi ctional level and a communicational level.…”

“…Th e article aims to complement existing media studies of immediacy in SKAM and viewers' sense of co-presence with characters in the net series (Jerslev, 2017, Sundet, 2017. It does so by showing how participant frameworks are multimodally constructed at a fi ctional level and a communicational level.…”