Struktur und Formensprache in Dichtung und Kunst

Kuhn, Hugo

doi:10.1007/978-3-476-99164-5_2

Cited by 2 publications

(2 citation statements)

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“…Instead, this unfolds mainly through inserted online media which may offer more personal access to the inner lives of the characters. DRUCK uses an innovative kind of information dramaturgy (Kuhn and Malzew, 2017: 75) through these visual and textual inserts. For example, when two characters confide something in a private chat, the audience gains insight into the intimate concerns and needs of the individual characters.…”

Section: Methods and Theoretical Starting Pointsmentioning

confidence: 99%

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Youthification of television through online media: Production strategies and narrative choices in DRUCK/SKAM Germany

Krauß

Stock

2021

Critical Studies in Television: The International Journal of Te

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This article discusses online media’s contribution to the youthification of television through the case study of DRUCK (tr. Pressure, 2018–), the German format adaptation of SKAM (tr. Shame, 2015–17). Youthification is understood as the television industry’s attempts to reach and win back teen and tween viewers with strategies in production, representations, aesthetics and distribution. In DRUCK, online media are integral to the youthification in all these strategies. Our multifaceted analysis of this serial combines perspectives from media industry studies to investigate production strategies, sociological analysis of film and television to examine the thematic and narrative choices and theories of transmedia storytelling to make sense of the specific distribution choices.

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Section: Methods and Theoretical Starting Pointsmentioning

confidence: 99%

“…The template of DRUCK , SKAM , has already been discussed as an example of the youthification of television and its adaptation to the internet (see e.g. Kuhn and Malzew, 2017: 54). SKAM ’s real-time approach promised a fruitful way of combining television and online media, of linear and non-linear distribution to reach teenage audiences.…”

Section: Introductionmentioning

confidence: 99%