10.13125/2039-6597/4
In the past few years television serial narratives have gone through some severe changes in the way they are organized from a narrative point of view, as well as in the way they are perceived by the audiences. Our article originates from the necessity of investigating the products of this new wave of serial production, with the purpose of focusing on narrative formulas and on the relationships that serial products establish with their users. Vast serialized narratives are not just texts anymore, they have become complex universes of meaning that last for long time and that have a strong influence on the audiences. The article aims to investigate serial narratives as usable objects, that are not just seen by the public, but that are part of a complex experience. 
application/pdf
2039-6597
4
8
en
Guglielmo Pescatore
Between
Viewers Engagement
Changing Series: Narrative Models and the Role of the Viewer in Contemporary Television Seriality
Text.Serial.Journal
https://ojs.unica.it/index.php/between
4
TV Serials and New Reception Models
2015-04-27
2015-04-17
2014-11-30
2015-04-27
1
Guglielmo Pescatore
2014
10.13125/2039-6597/4
Università di Bologna
2039-6597
8
Viewers Engagement
en
Changing Series: Narrative Models and the Role of the Viewer in Contemporary Television Seriality
https://ojs.unica.it/index.php/between/article/download/4/1
4
  




                Changing  Series:    
     Narrative  Models  and  the  Role  of  the  
     Viewer  in  Contemporary  Television  
                    Seriality  
              Veronica  Innocenti  -­‐‑  Guglielmo  Pescatore    


       The  media  are  changing,  as  we  have  known  for  quite  some  time.  
Yet  if  there  is  one  thing  within  the  media  that  is  metamorphosing  right  
before   our   eyes,   it   is   surely   televized   seriality.   Of   course,   we   are   not  
always  aware  of  this  change,  likely  since  serial  phenomena  are  built  on  
continuity,   duration   and   a   reassuring,   constant   presence   within   the  
structure  of  our  media  diet.  
       In  recent  years,  American  TV  series  in  particular  –  though  Italian  
products,   too,   following   the   public   accolade   of   series   like   Gomorrah  
(2014-­‐‑in  production)  or  Romanzo  criminale  -­‐‑   La  serie   (2008-­‐‑2010)  –  have  
achieved   great   success.   They   have   also   garnered   considerable   critical  
attention   from   scholars   of   the   audiovisual   media,   who   have  
highlighted   the   importance   of   their   experimental   narrative   forms   and  
mise-­‐‑en-­‐‑scène   and   their   complex   production   and   promotional  
techniques,   together   with   the   significance   of   the   audience   responses  
that  these  products  generate.  
       In   this   article,   our   focus   will   lie   predominantly   on   narrative  
formulas   and   on   the   relationships   that   serial   products   establish   with  
their   users.   Since   the   1980s,   a   series   of   phenomena   have   radically  
altered   the   panorama   of   serial   production   and   its   consumption.  
Classical,   self-­‐‑contained   forms   of   seriality,   typical   of   the   1970s,   later  
began  to  intertwine  and  hybridize  with  long  and  extremely  long-­‐‑term  
serials,  such  as  soaps  or  telenovelas,  generating  a  further  phenomenon:  


Between,  vol.  IV,  n.  8  (Settembre/September  2014)    
Innocenti,  Veronica  -­‐‑  Pescatore,  Guglielmo,  Changing  Series  



the   so-­‐‑called   serialized   series   (Thompson   1997;   Innocenti-­‐‑Pescatore  
2008:  18-­‐‑22).  Though  the  traditional,  self-­‐‑sufficient  episodic  form  of  TV  
shows  has  by  no  means  disappeared  –  suffice  it  to  recall,  for  example,  
products   like   NCIS   (2003-­‐‑in   production)   or   Law&Order   (1990-­‐‑2010)   –  
narrative   formulas   have   undergone   a   process   of   mutation,   and   many  
TV  series  have  moved  increasingly  closer  to  the  structure  of  the  serial.  
Within   this   typology   of   products,   single   segments   maintain   a   high  
degree  of  autonomy  and  thus  episodes  will  include  a  central  storyline  
that   is   concluded   in   the   episode   (called   an   anthology   plot);   however,  
there   will   also   be   a   background   context   that   pans   episodes   (the   so-­‐‑
called   running   plot).   The   latter   therefore   adds   an   element   of   temporal  
progression   and   partial   narrative   aperture,   that   was   absent   from   the  
traditional   formula.   Contemporary   serial   products   avoid   the   risk   of  
narrative   atrophy   by   creating   a   diegetic   world   in   which   variations   of  
every  kind  –  characters,  scenarios,  narrative  techniques  –  are  constantly  
sought   out,   and   indeed   appreciated   and   celebrated   by   viewers.   As  
such,   today’s   serial   texts   stretch   far   beyond   the   confines   imposed   by  
their  format,  in  order  to  extend  their  own  potential  into  other  fields  of  
the  cultural  industry.  

                                Variations  on  a  Theme  
       These  changes,  as  we  mentioned,  are  numerous  and  have  become  
very  prominent  in  recent  years.  Narrative  formulas  and  the  models  of  
composition   of   single   episodes   have   gone   through   profound  
modification,   as   have   production   formats   and   distribution   methods.  
The   canonical   form   of   new   TV   seriality   from   the   1990s   onwards   was  
the   long   series,   usually   22/24   episodes   of   little   more   than   40   minutes,  
extensively   serialized   and   often   rich   in   narrative   events   and   their  
ramifications.   This   structure   characterized   very   successful   and  
extremely   long-­‐‑running   productions   such   as   E.R.   (1994-­‐‑2009)   or   24  
(2001-­‐‑2010,  plus  a  series  of  12  episodes,  24:  Live  Another  Day,  broadcast  
on  Fox  in  2014).  However,  even  if  not  in  crisis  per  se,  this  model  today  
is  the  preferred  format  of  very  few  products,  albeit  those  which  remain  
decisively  influenced  by  the  market’s  perspective.  We  refer  for  instance  


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                                               Between,  vol.  IV,  n.  8  (Settembre/September  2015)  



to   stable,   long   established   products   such   as   Grey’s   Anatomy   (2005-­‐‑in  
production)   and   The   Good   Wife   (2009-­‐‑in   production),   or   analogous  
products  that  reinvent  the  traditional  formula  of  the  drama.  Free  to  air  
networks  and  particularly  the  Big  Four  have  typically  adopted  the  long  
form  show.  But  even  in  their  case,  with  products  made  for  the  summer  
period  and  other  such  programming  demands  the  networks  have  often  
employed   shorter   forms.   This   was   originally   the   case   for   Buffy   the  
Vampire  Slayer  (1997-­‐‑2003),  whose  first  season  lasted  only  12  episodes,  
having   been   planned   as   a   mid-­‐‑season   replacement   for   the   show  
Savannah  (1996-­‐‑1997).  This  expansion  of  the  production  base  has  led  to  
a   tangible   deregulation   of   show   formats   and   lengths,   and   in   fact   the  
definitive   affirmation   of   cable   products   and   the   emergence   in   the  
market   of   those   operators   that   use   the   web   to   distribute   their   own  
content   (generally   called   “Over   the   Top”   providers)   have   brought  
about  a  substantial  mutation  in  the  field.  
       There  is  moreover  an  analogous  mutation  underway  of  modes  of  
consumption.   The   ever-­‐‑growing   phenomenon   of   “binge   watching”  
(see,   among   others,   Poniewozik   2012;   Pagels   2012;   West   2014),   i.e.  
consecutively  viewing  a  certain  number  of  episodes,  lends  itself  easily  
to   short   formats   and   to   the   instantaneous   release   of   entire   seasons   of  
shows   –   in   other   words   the   very   formula   employed   by   Netflix   for  
House  of  Cards  (2013-­‐‑in  production)  and  Orange  is  the  New  Black  (2013-­‐‑in  
production).    
       These   format   changes   (of   quantity,   length,   and   periodicity   of  
broadcast)  have  accompanied  significant  variations  of  narrative  forms,  
too.  While  the  typical  shape  of  serial  narratives  in  the  last  decade  was  
multilinear,   complex   and   ramified,   reaching   its   apex   in   series   such   as  
Lost  (2004-­‐‑2010)  or  Heroes  (2006-­‐‑2010),  in  more  recent  seasons  we  have  
witnessed  a  notable  increase  in  the  diffusion  of  varied  narrative  models  
that   seem   to   owe   much   to   a   less   recent   past.   This   is   the   case   for   the  
anthology   format,   which   until   a   few   years   ago   was   considered   an  
antiquated   object   but   today   is   reaching   an   apogee:   examples   range  
from   American   Horror   Story   (2011-­‐‑in   production)   to   Fargo   (2014-­‐‑in  
production),   but   also   Black   Mirror   (2011-­‐‑in   production),   curiously  
consisting  of  just  three  one-­‐‑hour  episodes  per  season.  In  the  context  of  


                                                                                                     3  
Innocenti,  Veronica  -­‐‑  Pescatore,  Guglielmo,  Changing  Series  



anthological   seriality,   the   situation   is   rather   peculiar.   The   model   was  
amply   used   in   the   1950s   and   1960s,   but   abandoned   shortly   after   in  
view  of  high  production  costs.  In  products  like  The  Twilight  Zone  (1959-­‐‑
1964   with   some   revamps   in   the   1980s   and   2000s)   there   was   a   need   to  
offer   the   audience   new   characters   and   settings   in   every   episode,  
therefore   demanding   elevated   costs   both   for   the   creative   part   (every  
week   a   new   story,   with   new   characters   and   settings)   and   for   its  
realization  (new  locations  and  casting  each  week).  Today  Black  Mirror  
appears  to  be  one  of  the  few  embodiments  of  the  traditional  anthology  
series   in   the   guise   to   which   The   Twilight   Zone   or   Alfred   Hitchcock  
Presents   (1955-­‐‑1962)   made   us   accustomed,   that   is,   a   compact   duration  
(three  hours  per  season),  and  a  common  guiding  thread:  the  extent  to  
which   technology   has   pervaded   our   life.   Instead,   in   recent   years   we  
have   witnessed   the   birth   of   a   formula   that   we   might   define   as  
“seasonal  anthologies”,  which  is  adopted  by  Fargo,  True  Detective  (2014-­‐‑
in   production)   and   American   Horror   Story.   This   appears   to   be   a   new  
phenomenon,   apparently   in   debt   to   British   shows   that   adopt   the  
miniseries  formula,  yet  perhaps  also  to  the  made-­‐‑for-­‐‑TV-­‐‑movie,  which  
constitutes  a  unique  and  original  event  on  TV  palimpsests,  albeit  often  
situated  within  thematic  collections.  
       Another   ‘return’   is   to   the   period   drama.   In   this   case   the  
forerunners  have  been  two  very  different  products:  the  British  Downton  
Abbey   (2010-­‐‑in   production)   and   the   American   Mad   Men   (2007-­‐‑in  
production,   at   the   time   of   writing   the   last   seven   episodes   of   the   final  
season   are   being   aired),   both   of   which   have   established   a   significant  
and   stable   following.   Other   examples   include   Peaky   Blinders   (2013-­‐‑in  
production);  Masters  of  Sex  (2013-­‐‑in  production)  and  The  Knick  (2014-­‐‑in  
production),   a   metropolitan   medical   drama   set   between   the   late  
nineteenth  and  early  twentieth  century.    
       It   is   also   worth   recalling   the   new   wave   of   crime   series:   at   this  
point  we  have  moved  far  from  procedurals  such  as  CSI  and  the  likes,  
and   instead   learned   from   UK-­‐‑based   miniseries   and   many   European  
products   that   have   been   remade   in   the   USA.   Broadchurch   (2013-­‐‑in  
production)  is  exemplary  of  both  tendencies.  Its  first  two  seasons  were  
composed  of  eight  episodes  each,  and  it  was  remade  in  the  USA  under  


4  
                                            Between,  vol.  IV,  n.  8  (Settembre/September  2015)  



the  title  Gracepoint  with  the  same  male  lead  actor  as  the  British  version  
(though   the   latter   has   already   been   discontinued).   The   Bridge   (2013-­‐‑
2014)   has   met   a   similar   fate:   it   is   an   American   remake   of   the  
Scandinavian  series  Bron,  cancelled  after  two  seasons  while  the  original  
is  still  in  production.  We  might  also  add  to  this  ‘wave’  Top  of  the  Lake,  a  
2013   miniseries   of   seven   episodes   directed   by   Jane   Campion,   but   also  
True   Detective   whose   second   series,   currently   in   production,   is  
following   in   the   wake   of   American   Horror   Story   and   new   anthology  
format   by   telling   an   unrelated   story   with   entirely   new   characters   and  
settings.  
        Another   sub-­‐‑genre   which   appears   to   be   a   growing   success   is   the  
‘dramedy’:   though   the   term   stands   for   a   fairly   large   and   open  
container,   in   its   most   recent   manifestations   its   focus   appears   to   have  
shifted   from   group   or   family   situations   (such   as   Six   Feet   Under,   2001-­‐‑
2005,   for   example)   to   single   characters.   Instances   include   Nurse   Jackie  
(2009-­‐‑in   production),   one   of   the   biggest   successes   of   the   genre   whose  
final  series  is  about  to  launch,  and  Enlightened  (2011-­‐‑2013),  which  was  a  
vehicle  for  actor  Laura  Dern  in  the  role  of  Amy  Jellicoe,  a  40  year  old  
woman   in   crisis.   Orange   is   the   New   Black   can   be   at   least   partly  
assimilated  within  this  sub-­‐‑genre,  though  the  series  presents  itself  as  a  
“hard”  version  of  the  classic  women’s  show  in  a  move  that  has  proved  
to  be  an  extremely  functional  operational  strategy  from  Netflix,  which  
is   situating   itself   in   direct   competition   with   premium   cable   channels  
(not  least  of  all  HBO).  
        Are   we   therefore   at   the   end   of   the   expansive   and   intricate  
narrative   constructions   to   which   we   had   become   accustomed   in   the  
seriality   of   the   past   decade?   Will   new   series   still   have   the   appearance  
of   enlarged   films   distributed   across   several   episodes?   Is   narrative  
complexity  destined  to  give  way  to  the  linearization  of  stories,  even  if  
told  through  increasingly  elaborate  plots?  It  is  thus  far  difficult  to  say,  
albeit  many  of  the  examples  cited  above  appear  to  signal  this  direction.  
        There  are  nevertheless  a  significant  number  of  series  which  have  
not   renounced   complex   and   structured   universes,   but   instead   have  
merged  curiously  the  construction  of  articulated  narrative  worlds  with  
the   procedural   formula.   This   was   the   case   for   the   ill-­‐‑fated   Alcatraz  


                                                                                                  5  
Innocenti,  Veronica  -­‐‑  Pescatore,  Guglielmo,  Changing  Series  



(2012,  only  one  season)  as  well  as  f  the  intriguing  Warehouse  13  (2009-­‐‑
2014),   a   hybrid   of   different   genres   that   staged   a   complex   and   flexible  
universe,   engaging   user   interest   thanks   to   a   variety   of   narrative  
fragments   including   a   web   series.   Though   it   has   been   subjected   to  
some   reshaping,   the   formula   is   therefore   anything   but   dead:   suffice   it  
to   consider   examples   such   as   Blacklist   (2013-­‐‑in   production)   or   Grimm  
(2011-­‐‑in  production)  which  are  horror/fantasy  declinations  of  the  same  
principle.   The   case   of   The   Blacklist   is   interesting   insofar   as   it   is   a  
peculiar  instance  of  a  crime  show,  centred  on  a  single  character  played  
by   a   well-­‐‑known   actor   (James   Spader).   Like   Grimm,   it   merges   the  
guaranteed  viewer  satisfaction  of  self-­‐‑contained  episodes,  typical  of  the  
procedural   format,   with   extremely   complex   running   plots   that   span  
sets  of  episodes,  entire  seasons,  or  even  from  one  season  to  the  next.    
       In   other   cases   narrative   universes   are   concentrated   within  
microcosms,   that   nevertheless   do   not   renounce   complex,   mysterious  
and   unfathomable   plots:   for   example   the   French   series   Les   Revenants  
(2012-­‐‑in   production,   with   an   American   remake   The   Returned,   which  
debuted  9  March  2015),  or  its  American  equivalent   Resurrection  (2014-­‐‑
in  production).  
       On   further   occasions,   complexity   is   referred   to   the   sphere   of  
transmedial  narrative  aspects.  The  referral  might  be  implicit,  as  in  the  
case   of   the   web   series   The   Confession   (2011).   Being   situated   within   a  
large  content  container  like  Hulu  and  thanks  to  its  fast  production,  The  
Confession  can  be  highly  personalized,  and  connects  to  varied  narrative  
universes  depending  on  its  modes  of  navigation  and  the  habits  of  the  
single   user.   The   referral   is   explicit,   on   the   other   hand,   when   the  
transmedial  universe  exists  as  a  mythology  that  emerges  from  a  comic  
book   universe:   this   what   DC   comics   are   currently   achieving,   by  
reproducing  their  superheroes  in  one  theoretically  connected  universe.  
Following  a  successful  first  bid  with  Arrow  (2012-­‐‑in  production)  it  was  
then   the   turn   of   Gotham   (2014-­‐‑in   production),   The   Flash   (2014-­‐‑in  
production)  and  Constantine  (2014-­‐‑in  production),  with  further  releases  
already   confirmed   for   future   months.   Furthermore,   Arrow   and   The  
Flash   are   both   located   on   the   palimpsest   of   The   CW,   a   channel   which  
overtly  addresses  young  people,  and  the  two  shows  are  closely  linked  


6  
                                             Between,  vol.  IV,  n.  8  (Settembre/September  2015)  



with   frequent   crossovers   –   the   same   technique   used   regularly   in   the  
comic   books,   much   to   the   appreciation   of   their   readers.   Perhaps   the  
most   significant   case   is   Agents   of   S.H.I.E.L.D.   (2013-­‐‑in   production),  
which  is  perfectly  synchronized  with  the  Marvel  universe  and  connects  
to   cinema   releases   too,   in   part   through   the   figure   of   its   creator   Joss  
Whedon  whose  passion  for  narrative  universes  is  well  known.  In  fact,  
during   the   mid-­‐‑season   pause   of   Agents   of   S.H.I.E.L.D.   the   mini-­‐‑series  
Marvel’s   Agent   Carter   was   televized.   This   constituted   a   mid-­‐‑season  
replacement   that   revolved   around   the   character   Peggy   Carter,   the  
girlfriend  of  Captain  America.  Following  the  end  of  the  Second  World  
War   and   the   presumed   death   of   her   boyfriend,   Carter   finds   herself  
juggling  her  job  at  the  Strategic  Scientific  Reserve  (SSR)  with  the  help  
she   secretly   provides   to   Howard   Stark,   himself   framed   for   trading  
lethal  weapons  to  the  highest  bidder.  Peggy  seeks  to  disprove  the  false  
accusation,  and  to  locate  the  true  culprits.  Both  Peggy  Carter  and  Phil  
Coulson,  protagonist  of  Agents  of  S.H.I.E.L.D.,  come  from  the  so-­‐‑called  
Marvel   Cinematic   Universe   (MCU),   a   film   and   TV   media   franchise  
created   and   produced   by   Marvel   Studios   and   based   on   the   characters  
who   appear   in   Marvel   Comics.   The   films   and   the   other   products   that  
relate  to  this  franchise  share  their  settings  and  some  of  the  characters,  
not  to  mention  several  plot  elements  that  function  as  common  guiding  
threads  between  them.  

                              Narrative  Universes  
       The   serialization   mechanisms   that   we   have   described   here  
provide  TV  series  with  a  modular  structure  that  can  be  easily  re-­‐‑used  
even   beyond   the   small   screen.   They   moreover   help   us   to   redefine  
familiar   concepts   from   narrative   theory,   and   indeed   notions   such   as  
“diegetic  unity”  and  “furnished  worlds”  change  or  lose  their  standard  
meanings   in   light   of   these   changes.   A   characteristic   of   closed   texts   is  
that   they   present   perfectly   furnished   and   unmodifiable   worlds.   The  
space   of   an   audiovisual   text   is   traditionally   open   to   various   possible  
combinations,   but   nevertheless   remains   complete,   defined   and   stable.  
More   recent   seriality,   however,   tends   to   push   beyond   the   traditional  


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Innocenti,  Veronica  -­‐‑  Pescatore,  Guglielmo,  Changing  Series  



confines   of   its   original   format   in   order   to   develop   narratological  
matrices   that   are   reproduced   across   various   platforms,   and   to   forge  
continuously   expanding   diegetic   worlds   within   single   series;   in   other  
words,  they  produce  perfectly  defined  and  furnished  worlds  which  are  
nevertheless   unstable.   New   seriality   is   characterized   by   innumerate  
possibilities  of  redefinition  of  the  diegetic  world.  These  series  provide  
vast   and   detailed   hyper-­‐‑diegetic   worlds,   some   of   which   is   revealed  
from   time   to   time   while   other   parts   are   not,   yet   the   latter   remain  
constantly   susceptible   to   enlargement   and   reconstruction:   here   we  
might  consider  the  many  forms  of  reboot,  remake  and  reappropriation  
to   which   contemporary   TV   series   are   subjected.   They   have   the  
potential   to   impose   entirely   new   worlds   that   relate   little   to   the  
precedent   dominant   narrative   thread,   or   moreover   introduce   entirely  
new   characters,   while   others   will   disappear,   or   undergo   continued  
reconfigurations   in   their   relationships.   This   happens,   for   example,   in  
Alias   (2001-­‐‑2006),   or   more   recently   in   The   Honorable   Woman,   a   2014  
British  miniseries  composed  of  eight  episodes.    
       However,  while  the  diegetic  universes  of  recent  TV  series  may  be  
open   to   change,   they   are   nonetheless   durable.   They   mutate,   certainly,  
but  they  take  time  in  doing  so.  These  are  enduring  universes,  that  last  
for   long   periods   and   have   a   material   duration   that   is   open   to   being  
conditioned  by  the  time  resources  of  its  users.  TV  series  accompany  us,  
they   assert   viewing   experiences   that   are   long   enough   to   cover   entire  
cycles  of  some  individuals’  lives,  and  to  characterize  those  experiences  
in  transmedial  terms.  In  the  era  of  convergence,  spectators  are  invited  
less   to   simply   watch   a   TV   series   than   to   live   an   experience   that  
transcends  the  limits  of  a  predetermined  consumption.  
       This   produces   a   need   to   negotiate   the   period   of   viewing   time  
itself.   Depending   whether   they   adopt   traditional   modes   of   access   or  
more   experimental   ones,   viewers   can   decide   whether   to   accept   the  
consumption  time  imposed  by  the  medium,  or  redefine  and  modify  it  
either   slightly   (perhaps   postponing   the   viewing   start   time   thanks   to  
video   recording   systems)   or   drastically   (which   might   occur   when  
assuming   a   constricted   mode   of   consumption   or   conversely   an  



8  
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extremely  tempered  one,  such  as  12  episodes  in  a  single  night  or  single  
episodes  monthly).  
        The  transformations  outlined  here,  which  have  taken  place  in  the  
last  decades,  are  part  of  an  overall  process  of  de-­‐‑institutionalization  of  
the   media   and   of   television   in   particular.   The   traditional   contours   of  
the   television   medium,   and   above   all   its   means   of   consumption,   are  
changing.  What  was  once  a  medium-­‐‑based  relationship  is  shifting  to  a  
serial   one:   once   upon   a   time   we   watched   television   at   home   in   the  
living   room   according   to   times   defined   by   the   palimpsest;   now   we  
follow  specific  series  and  we  do  so  when  we  want,  where  we  want,  and  
with   the   apparatus   that   we   want,   irrespective   of   the   medium   and  
institutional  modes  of  consumption.  The  habitual  relationship  that  we  
once   had   with   the   television   is   crumbling   and   fracturing   into   the  
thousands  of  fragments  that  are  the  single  series  we  follow,  according  
to  the  ability  of  the  latter  to  create  stable  relationships  with  their  own  
audiences.  
        However,   this   is   not   enough,   and   things   are   still   changing:   both  
basic  and  premium  cable  networks  have  reached  such  qualitative  and  
quantitative   levels   in   the   American   market   that   they   can   now   rival  
free-­‐‑to-­‐‑air   networks.   This   has   brought   about   new   narrative   formulas  
that   are   often   characterized   by   continuity   models   which   hark   back   to  
literary   or   cinematic   traditions.   We   can   take   note   of   three   formats   in  
particular   that   have   conquered   domestic   and   international   markets   in  
recent  years:  first,  those  series  that  are  organized  like  a  novel  or  a  very  
long  film,  for  example  The  Killing  (2011-­‐‑2014  for  the  American  remake,  
the   original   Danish   version   Forbrydelsen   began   production   in   2007)   or  
The  Bridge.  Second,  we  find  seasonally-­‐‑structured  anthologies,  such  as  
Fargo  and  American  Horror  Story,  as  discussed  above.  And  finally,  those  
highly  serialized  series  that  follow  a  linear  logic  insofar  as  they  narrate  
essentially   a   continuous   story   for   relatively   long   periods,   for   instance  
Game   of   Thrones   (2011-­‐‑in   production)   or   The   Walking   Dead   (2010-­‐‑in  
production).   It   is   worth   recalling,   ultimately,   that   of   the   series  
mentioned  here  only  Game  of  Thrones  is  produced  by  a  premium  cable  
network,   while   all   of   the   others   are   produced   by   basic   cable  



                                                                                                  9  
Innocenti,  Veronica  -­‐‑  Pescatore,  Guglielmo,  Changing  Series  



equivalents  and  are  therefore  situated  in  a  media  context  that  positions  
itself  in  direct  competition  with  the  free-­‐‑to-­‐‑air  networks.  
       Viewers   value   first   and   foremost   the   authors,   actors   and  
characters   of   these   texts.   They   prioritize   individuals   over   the   offer   of  
fully  furnished  words  to  interact  with  actively,  or  even  just  affectively.  
Quality   television   therefore   takes   the   shape   of   a   film   that   has   been  
extended   rather   than   expanded,   that   ought   to   be   merely   watched,  
rather   than   engaged   with.   Some   of   the   most   recent   developments,  
which   have   seen   the   first   signs   of   competition   between   network   pays  
and  Over  the  Top  services  such  as  Hulu  and  Netflix  appear  to  confirm  
this   direction.   Consider   House   of   Cards,   the   first   of   Netflix’s   major  
productions,   which   attracts   appeal   via   the   coupling   of   David   Fincher  
and   Kevin   Spacey,   and   whose   episodes   were   made   available   to   the  
public   instantaneously   for   the   three   seasons   produced   to   date,   as  
though  a  film  divided  in  several  parts.    
       Television   seriality   is   therefore   a   fluid   matter   today;   it   is   mobile,  
and  difficult  to  define  once  and  for  all.  And  perhaps  even  more  elusive  
are   the   choices   of   fans   and   audiences   which   transform   some   of   these  
products  into  cult  objects,  as  do  the  narrative  formulas  that  can  guide  
these  choices.  

                                         New  Viewers  
       All   things   considered,   the   consumption   of   contemporary   serial  
products   is   no   longer   accomplished   in   the   weekly   viewing   of   an  
episode,   but   instead   it   is   transformed   into   a   durable   process   that   is  
dislocated  from  the  typical  transmission  timings  of  these  products  (one  
episode  per  week,  on  a  specified  day  and  time  slot;  precisely  the  kind  
of   release   system   that   Netflix   has   dismantled).   The   single   episode   is  
now  little  more  than  a  departure  point  for  the  engagement  of  the  user,  
who   is   increasingly   asked   to   interact   with   the   serial   product   in   a  
participatory  way.  
       The   ritual   that   was   ingrained   in   TV   consumption   via   the  
palimpsest   as   well   as   the   logic   of   the   fixed   appointment   that  
determined  the  composition  of  a  day  of  television  in  the  past  have  been  


10  
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undermined  by  new  technology  and  by  the  new  modes  of  relationality  
created   between   user   and   medium.   Indeed,   the   relationship   between  
medium  and  spectator  is  now  built  on  a  proximity  and  continuity  that  
originates  in  the  serial  text  itself,  and  the  organization  of  the  regulation  
and   timings   of   consumption   has   become   self-­‐‑governing,   particularly  
when   compared   to   the   rigid   rules   imposed   by   the   television  
palimpsest.   The   spectator   is   an   active   viewer,   inserted   within   an  
integrated   and   convergent   media   system.   The   medium   retains   the  
function  of  forging  contact  between  the  spectator/user  and  the  textual  
object,  but  once  this  duty  is  completed  such  contact  is  guaranteed  only  
by  the  serial  concatenation  that  characterizes  the  products  themselves.  
Therefore,  it  is  a  connection  which  has  become  disconnected  from  the  
medium,   and   which   can   be   accomplished   in   the   most   varied   of   ways  
and  with  the  highest  level  of  spectator  involvement  precisely  by  virtue  
of   the   delocalization,   digitalization   and   infrequency   of   an  
institutionalized   consumption.   It   is   clear,   then,   that   not   only   have  
media   platforms   changed,   along   with   the   content   that   has   been  
adapted  to  them,  but  audiences  have  changed  too  (Casetti,  Fanchi  2006;  
Fanchi   2014),   and   become   increasingly   assumed   into   a   dynamic  
relationship   with   a   range   of   products   of   the   entertainment   industry.  
The   relationship   between   spectator   and   the   narrative   ecosystem  
(Pescatore,   Innocenti   2012;   Bisoni,   Innocenti   2013)   is   a   direct  
relationship  that  is  both  engaging  and  proactive,  and  for  the  most  part  
grounded   in   an   idea   of   diffused   textuality.   The   dominant   forms   of  
narration   become   centerless.   This   is   a   curious   characteristic   of   serial  
products,  which  are  categorized  by  an  ever  growing  interactivity  with  
regard   to   their   narration.   To   experience   the   worlds   and   characters   of  
seriality   means   to   be   in   touch   with   products   that   take   the   form   of  
inhabitable   universes,   while   nevertheless   remaining   strongly  
connected  to  production  models  that  maintain  their  own  structure  and  
autonomy  (Barra,  Scaglioni  2010:  33-­‐‑56).  Rather  than  being  classifiable  
according  to  the  customary  models  of  communication,  increasingly  we  
are   dealing   with   usable   objects   that   can   be   adopted   in   an   integrated  
way,  that  can  be  appropriated  and  made  part  of  a  lived  experience.  The  
user   employs   the   textual   objects   of   a   series   in   an   opportunistic   and  


                                                                                                11  
Innocenti,  Veronica  -­‐‑  Pescatore,  Guglielmo,  Changing  Series  



situated   manner,   employing   them   according   to   her/his   own   ends   and  
combining   its   various   fragments   according   to   the   context   of   that   use.  
The   serial   narrative   ecosystem   provides   a   pervasive   experience,  
becoming  the  vehicle  of  many  complex  significations.  The  meaning  of  
the   show   transcends   its   borders,   and   the   TV   programme   becomes   the  
result   of   a   composite   constellation   of   products,   including   spin-­‐‑offs,  
comics,  novels,  internet  sites,  video  games  and  much  more.  
       Those   programmes   which   generate   intense   forms   of   user  
engagement   and   become   cult   (Volli   2002;   Gwennlian-­‐‑Jones,   Pearson  
2004;   Monteleone   2005;   Scaglioni   2006)   tend   to   export   splinters   and  
fragments   of   the   narrative   ecosystem   into   the   lived   sphere   of   their  
audience.   The   cultural   consumption   of   TV   series   is   therefore  
transformed  from  a  divergent  practice,  and  the  collateral  of  traditional  
modes  of  consumption,  to  a  canon  of  consumption  that  is  desired  and  
sought  out  by  the  television  industry,  in  view  of  its  capacity  to  create  
solid  links  between  the  serial  product  and  its  audiences.  While  the  idea  
of  trekkies  once  seemed  like  a  folklore  phenomenon,  ultimately  a  little  
naive   and   marginal,   today   we   are   well   aware   that   serial   products   are  
projected   as   inhabitable   environments,   in   which   spectators/users   can  
circulate,   gather   information,   play   and   develop   affective   bonds.   They  
are   real   worlds,   whose   definition   is   partly   left   to   the   spectators,   by  
means  of  fan  fiction  but  also  thanks  to  those  communities  that  discuss,  
interpret  and  re-­‐‑organize  the  ‘knowing’  of  the  narrative  that  the  series  
proposes.  
       (Translated  by  Dom  Holdaway)  




12  
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                                                                                                     13  
Innocenti,  Veronica  -­‐‑  Pescatore,  Guglielmo,  Changing  Series  



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                                           The  authors  
Veronica  Innocenti  
       is   assistant   professor   at   the   University   of   Bologna,   where   she  
teaches  History  of  Broadcasting  and  Film  Marketing.  She  is  the  author  
of  several  books,  edited  collections  and  essays,  among  others:  Le  nuove  
forme   della   serialità   televisiva   (Archetipo   2008,   with   Guglielmo  
Pescatore);  Factual,  reality,  makeover  (Bulzoni  2013,  co-­‐‑edited  with  Marta  
Perrotta)   and   Media   Mutations.   Gli   ecosistemi   narrativi   nello   scenario  
mediale   contemporaneo.   Spazi,   modelli,   usi   sociali   (Mucchi   2013,   co-­‐‑edited  
with  Claudio  Bisoni).  
         
       Email:  veronica.innocenti@unibo.it  
  
Guglielmo  Pescatore  
       is   full   professor   at   the   University   of   Bologna,   where   he   teaches  
courses   on   Film   and   Media   Semiotics   as   well   as   Theory   and  


14  
                                            Between,  vol.  IV,  n.  8  (Settembre/September  2015)  



Techniques   of   New   Media.   He   is   the   author   of   the   books   L'ʹombra  
dell'ʹautore.   Teoria   e   storia   dell'ʹautore   cinematografico   (Carocci   2006),   Le  
nuove   forme   della   serialità   televisiva   (Archetipo   2008,   with   Veronica  
Innocenti)  and  the  editor  of  the  collection  of  essays  Matrix.  Uno  studio  
di   caso   (Hybris   2006).   He   is   the   coordinator   of   the   Ph.D   program   in  
Visual,  Performative  and  Media  Arts  of  the  University  of  Bologna.    
           
         Email:  guglielmo.pescatore@unibo.it  
  
                                      The  paper  
Data  invio:  30/08/2015  
Data  accettazione:  30/10/2014  
Data  pubblicazione:  30/11/2014  



                          How  to  quote  this  paper  
Innocenti,   Veronica   –   Pescatore,   Guglielmo,   “Changing   Series:  
Narrative   Models   and   the   Role   of   the   Viewer   in   Contemporary  
Television        Seriality”,           Between,           IV.8        (2015),  
http://www.betweenjournal.it/  
  




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