Stylistic convergences between British film and American television: Andrew Haigh’s <i>Looking</i>

Cortvriend, Jack

doi:10.1177/1749602017746115

Cited by 14 publications

(5 citation statements)

References 12 publications

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“…It is a trainable multi-layer network structure composed of multiple single-layer convolutional neural networks. In convergent network terminology, the first parameter of convergence is often referred to as the input (i.e., the data to be processed) [14]. e second parameter is called the kernel function (which can be thought of as a processing function), and the output is called the feature map.…”

Section: Roll-up Neural Networkmentioning

confidence: 99%

Promotion and Influence of Big Data and Artificial Intelligence in Field of Drama and Film

2022

Mobile Information Systems

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As a member of the oldest art family of human beings, drama is also a very important part of human civilization. With the development of technology, more and more types of drama film and television appear. In today’s society, bad films and commercial films are emerging one after another. The intervention of capital has brought a very poor experience to moviegoers and is not conducive to the development of the entire field of drama and film. The further development and scientific promotion of the field of drama film and television has become a relatively important issue. In this context, this paper takes this as the starting point, integrates big data and artificial intelligence algorithms, and aims to analyze the promotion and influence in the field of drama and film. It has existed for a long time in the fields of physics, biology, environmental ecology, and other industries such as military, finance, and communication, but it has attracted people’s attention due to the development of the Internet and information industry in recent years. The article introduces the transition of the mainland film system and the manifestations of conflict in plot art and film and television plots. It uses the convolutional neural network algorithm in deep learning to build the system. This paper adopts an online survey, distributes it to moviegoers nationwide, and collects 4,000 valid samples for analysis of moviegoers’ occupation and monthly income. In terms of the occupational distribution of the audience, the proportion of white-collar workers in the company is the highest at 40%, the student group only accounts for 17.4%, and the retired worker group accounts for the smallest proportion, at 0.6%. To sum up, the structure of Chinese films has shifted from a younger, student-dominated, middle-income group to a mature, workplace-oriented, middle- and high-income group. It has successfully completed the analysis of the promotion and impact of big data and artificial intelligence in the field of drama, film, and television.

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Section: Roll-up Neural Networkmentioning

confidence: 99%

Promotion and Influence of Big Data and Artificial Intelligence in Field of Drama and Film

2022

Mobile Information Systems

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“…In terms of the color palette, lighting, camera work, and even the work with the actors, Weekend serves as a direct reference for Looking's cinematography. In fact, different authors (Clare, 2013;Cortvriend, 2018;Hargraves, 2020) identify telecinematic aesthetics in Looking that, although framed by the general model of HBO's quality TV, they are ultimately authored by Haigh.…”

Section: Looking: Authorship Aesthetics and Narrativementioning

confidence: 99%

Translation and telefiction

Villanueva-Jordán

2021

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This paper presents an analysis of the trailers of a telefiction series originally produced in English and simultaneously distributed in Spanish in Latin America. Looking (aired between 2014 and 2016 by HBO) was a contemporary dramedy series, a hybrid genre typical of the quality TV promoted by HBO, whose plot dealt with the life of three gay friends living in San Francisco. The aesthetics of the series reveals the auteur cinematic work of Andrew Haigh, a film director who applied his visual narrative repertoire to Looking. Using the multimodal analysis model proposed by Kaindl (2020) and the structure of communicative modes proposed by Chaume (2004) and Stöckl (2004), the translation and Latin American adaptation of two trailers of the series are studied to understand whether the semiotic integration of the paratexts portraits or intensifies the narrative aspects of the hybrid genre series.

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“…This resulted in an early cancelation because of its low ratings and the lukewarm attitudes of television critics. Despite its short run-two seasons and a closing film-Looking has been analyzed from different formal approaches to its camera work (O'Sullivan 2017), lighting and color (Hargraves 2020), paratexts and music (Villanueva-Jordán 2021b), and general cinematography (Cortvriend 2018), as well as to its ideological themes and discourses around age (Goltz 2016), love and social relationships (Manganas 2015(Manganas , 2017, and identity and gender politics (Keegan 2015;Manganas 2018). This analytical approach toward Looking proves how the show became a case of "complex TV," which Jason Mittel (2015) characterizes as a television series that demands intensified engagement from viewers "as their pleasures are embedded in a level of awareness that transcends the traditional focus on diegetic action that is typical of most popular narratives" (p. 47).…”

Section: Introduction: Contemporary Complex Telecinematic Fictionmentioning

confidence: 99%

Audiovisual Translation, Multilingual Desire, and the Construction of the Intersectional Gay Male Body

Villanueva-Jordán

2023

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This study focuses on the HBO series Looking, whose two seasons and film make up a critical telecinematic artifact that reveals how authorial vision integrates ideologies on class, race, and desire that are identifiable in visual modes and language use—particularly multilingual dialogues. The analysis begins with the assumption that Looking is a relevant case of complex television and centers on the narrative structure of the series and the way that language, translation, and visual semiotic resources interact in the construction of a gay Latino character in the source version of the series and two Spanish dubbed versions—one for Latin America and the other for Spain. The findings reveal that Looking, as a televisual and aesthetic artifact, proposes a post-gay discourse of homoerotic relationships while also constructing racialized objects of desire, particularly the Latinx (male) body. A comparative linguistic analysis shows that both the dubbed versions highlight the boundaries of the so-called globalized gay identity. The data gathered demonstrate that the representation of ethnic, racial, and erotic difference changes according to the language system used. Moreover, new interactions between dubbed dialogues and visual resources result in a greater degree of semiotic layering of ideological discourses throughout the series.

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Stylistic convergences between British film and American television: Andrew Haigh’s Looking

Cited by 14 publications

References 12 publications

Promotion and Influence of Big Data and Artificial Intelligence in Field of Drama and Film

Promotion and Influence of Big Data and Artificial Intelligence in Field of Drama and Film

Translation and telefiction

Audiovisual Translation, Multilingual Desire, and the Construction of the Intersectional Gay Male Body

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