US TV Series Research Articles

A Brief Analysis of Symbolic Metaphors in Korean Drama Squid Game

In the US TV series dominate the Netflix platform today, Squid Game as the first Korean series to top the 2021 Netflix platform US series list, has won a high reputation around the world experience is worth in-depth analysis, there are many domestic and foreign scholars on Squid Game this popular Korean drama analysis. The purpose of this study is to briefly explore what symbolic metaphors are used in the Squid Game and the role they play in the series, as well as to analyze what role symbolic metaphors play in the communication of the series. Using the research method of questionnaire survey, this research concluded that the Squid Game uses symbolic metaphor to simplify complex metaphors, mechanisms, characters, and social realities, and uses symbols to show them. Such setting “smoothing” the cultural differences of the series “decoded” by audiences from different countries, and promoted the plot development in narrative. The multiple functions of revealing characters’ hearts and reflecting the theme of the series have promoted the global spread of the TV series Squid Game.

Psychoanalytic Psychotherapy and the Aesthetics of Serial Narration in The Sopranos (1999–2007)

Abstract Against the backdrop of the difficult therapeutic relationship between Tony Soprano and Jennifer Melfi and its embeddedness in the series’ dramaturgy, this article explores what psychoanalysis accomplishes for the US TV series The Sopranos (1999–2007), in particular for its perspectives on serial narratives and their reception. It analyses how select tenets of psychoanalysis (in particular, the psychoanalytic setting, countertransference, and its interminability) self-reflexively interrogate the aesthetics of serial narration and the ethical underpinnings of the audience’s attachment to the series.

An Analysis of the Subtitles of Wednesday from the Perspective of Communicative Translation

Cultural exchanges have drawn more and more attention in the literature in recent years, in which film and television subtitle translations play an undeniably important role. The study on the English to Chinese subtitles provides a good perspective to reveal the process of cultural exchange and thus is a promising topic to look into. This study investigates the Chinese subtitle translation of the US TV series Wednesday, which is a horror and fantasy drama released on 2022 by Netflix, and the analysis is based on the framework of Peter Newmarks eight translator methods. The translations have been mainly put through the three translation techniques: addition, omission and shift, and three translation methods are found, namely communicative translation, idiomatic translation and free translation. The analysis reveals the target-audience emphasis tendency of the subtitle translation, which is resulted from the translators habit, the purpose of the subtitle translation, the consideration of the audience, etc.

Chaperos, Rent Boys, and Sex Workers: Translating Attitudes Towards Male Sex Work in the Spanish Dubbing of the US TV Series Looking

Chaperos, Rent Boys, and Sex Workers: Translating Attitudes Towards Male Sex Work in the Spanish Dubbing of the US TV Series Looking

«I am never done!» Homeland: Is Carrie Mathison a Convincing Example of Political Sustainability and Political Efficiency?

In this paper, I focus on CIA agent Carrie Mathison of the US TV series Homeland. The blond, young and very intelligent CIA analyst is a splendid example of sustainability and efficiency in politics. Scrutinizing series 1 and series 8, hence the first and last series, I demonstrate how Mathison’s activities and decisions are sustainable and effective for her employer, the CIA. Naturally, Homeland is fiction, but fiction can inspire political theorists to think about politics. Were not all contract theories fiction? Were not the utopiae of Morus, Campanella and Cavendish fiction that taught the readers how to think about the political possibilities with regard to governmental rule, constitutional issues and women’s rights in society? Carrie Mathison is mentally handicapped with bipolar syndrome, but that makes her a great agent; hyper-sensible and sensitive, she sees what everybody else overlooks, and her mild paranoia is effective in detecting traitors and agents turned by foreign secret services. Carrie Mathison is one of the most interesting persona in recent US TV fiction. Is she a Machiavellian character?

The Vampire as a Model of Cultural Otherness in the Television Series “What We Do in the Shadows”

Vampires in popular culture differ from vampires in Serbian traditional culture not only in that they feed on human blood, but also in the implications of otherness they represent. While the Serbian vampire is an example of ontological otherness – a revenant, a non-human as opposed to a human, but not of sociocultural otherness, being a member of the same community as those against whom its misdeeds are directed – the vampire in popular culture is an example of the way that sociocultural otherness derives from ontological otherness. Its non-human nature is clearly designated as the essential difference between it and man in the physical and psychological sense: besides being undead and being at the top of the food chain, its body possesses animal and protean characteristics, and uses various parapsychological powers. As such, it represents an alien in the human world generally, but also alienness with regard to the sociocultural environments in which different works of fiction and films, i.e. works of popular culture, situate it. This alienness is depicted in different ways, all of which can basically be traced to Bram Stoker's shaping of Dracula. In the US TV series What We Do in the Shadows, which is based on the eponymous New Zealand film and takes the form of the sitcom and mockumentary, we follow the lives of three bloodthirsty vampires from Europe and Asia who live together in Staten Island, New York City, in a house they share with a local energy vampire. Their appearance, behavior, habits, speech, etc. are an attribute of their alienness in the New World – and a source of constant misunderstandings with the environment into which they wish to integrate. Although their neighbors cannot know they are not human, they treat them as such, with all the courtesy of middle-class society and political correctness: the obstacle to the vampires' integration into contemporary US society is not their non-humanness, but rather their cultural incompetence. Hence it turns out that the contemporary cultural thought behind the cultural concepts of ontology and otherness is a form of Leachian perception of the manner of primary identification in the majority of traditional cultures in the world, in which "foreigners are in fact not counted among human beings".

Humour and other catastrophes: dealing with the translation of mixed-genre TV Series

Starting from a trend observed in the Italian dubbing of US series “Six Feet Under” (Bucaria 2005; Bucaria forthcoming) involving the deletion or toning down of most instances of potentially disturbing elements, this paper will take into consideration examples from three US TV series (“House MD,” “Nip/Tuck” and “Six Feet Under”) dubbed into Italian and presenting a mixture of drama and comedy, in an attempt to analyze the degree of manipulation or adaptation that they underwent in terms of the linguistic representation of clashing genres. With particular reference to the rendering of humorous comments produced in unexpected contexts, the analysis shows considerable manipulation in the translated versions and a consequent decrease in the humorous content of the target texts.

Walter White: From «Apply Yourself» to «Say my Name». Aspects of Political Theory in «Breaking Bad»

This text should be understood as an interdisciplinary inquiry into one of the most successful US TV series: Breaking Bad (BB). I use political theory analysis, plot analysis that one could understand as textual analysis of the story, and my interpretations of the series’ main characters. In the first chapter, I present a summary of the story of Walter White and how his decisions affect his family. In the second chapter, I analyse BB according to Thomas Hobbes’ Leviathan. What Hobbes meant with his famous saying that man is man’s wolf, thus a deadly reciprocal threat of all against all comes to life in Walter becoming a full-fledged criminal, murder and deception now the tools of his new chosen craft. Walter is breaking bad, ignoring societal norms and ethical values, pursuing relentlessly his plans of making money for his family, enjoying his new self as a powerful provider because that is what men do: they provide. The third chapter is dedicated to an analysis how Hannah Arendt’s definitions of power, strength, authority, violence and judgement can explain Walter’s change from Paulus to Saulus. In the conclusion, I shall present my thoughts about the series and answer the following research questions: first, why is the global public still so smitten with Walter White? Second, what can one learn from BB for our contemporary conditio humana in the 21st century? Third, is Walter White the master of his life, thus self-determined (Selbstbestimmung), or is he dominated by forces outside of his own free will (Fremdbestimmung)?

미국식 TV 드라마 시리즈의 시즌제도와 마블 시네마틱 유니버스의 페이즈 비교

이 글에서는 미국 TV 드라마 시리즈에서 ‘큰 줄거리’와 ‘단독 에피소드’를 시즌 안에서 분배하고 배치하는 연재법을 살펴보고, 이 방식이 마블 영화사가 제작한 일련의 작품들에서도 보임을 설명한다. 일련의 작품을 하나의 시리즈로 간주할 수 있는 기반은 제작진이 전체 구조를 중장기적인 사전 기획에 맞췄기 때문이며, 이러한 작법 경향은 매체를 떠나 유사성을 보일 것이다.BR TV 시리즈에서 이야기의 완급을 관찰할 수 있는 단위가 시즌이라면, 마블 영화에서는 페이즈가 있는데, 이 둘은 일정 기간 내에 일정 수의 작품을 한 묶음으로 편성하고 공개한다는 점에서 유사하다. 마블 영화의 큰 줄거리는 다수의 인물이 모여 핵심사건이 전개된다는 점에서 〈어벤저스〉 시리즈가, 한 편 안에서 플롯이 완결되는 단독 에피소드는 단독 히어로 영화가 해당할 것이다. 초기에는 단독 에피소드가 강하다가 후반에는 연속극이 강화되는 현상, 핵심 사건을 진행하면서도 단독 에피소드로 전체의 완급을 조절하는 방식은 TV 시리즈와 마블 영화 모두에서 발견할 수 있다.BR 마블 영화 세계관(Marvel Cinematic Universe, MCU)의 성공은 일련의 작품들이 한 세계에서 벌어진다는 ‘세계관’의 개념을 일반대중에 전파했으며, 다수의 영상물이 대중에게 하나의 시리즈로 인식되는 기획의 중요성을 보여준다. 미국 TV 산업의 시즌 제도를 이해하는 것은 시리즈 영화를 파악하는데 도움이 되며, 향후 세계관을 다루는 중장기적 작품 기획 면에서 일종의 원형을 제공할 것이다.

The translation of legal references in the Italian dubbing of a US TV series. A corpus-based analysis

Legal drama series contribute to the popularisation of legal discourse and legal concepts: however, as they are entertainment products, they also simplify complex constructs for the sake of plot comprehension. When such products are translated for foreign audiences, a further layer of complexity is added onto them. Legal references in audiovisual products are notoriously challenging to translate, especially when the legal traditions of the source and target cultures are different. This paper investigates the translation strategies employed in the Italian dubbing of The Good Wife , a very popular legal drama from the US, to convey the legal references in the dialogues to Italian viewers. The data used in the analysis come from the DubTalk corpus, compiled at Universita degli Studi Internazionali di Roma-UNINT. A theoretical framework was developed to classify the legal references in the original English dialogues and the related translation strategies in the Italian dubbed version; moreover, interviews were conducted with four professionals involved in the Italian dubbing of the series, with the aim of achieving a better comprehension of the process. The analysis shows that the most frequent translation strategies in our corpus are the use of functional equivalents, periphrases and calques; thus, while the key principle driving the Italian dubbed version may be said to be domestication, frequent legal terms and fixed formulae were translated via calques and standardised translations which viewers have come to expect in translated legal dramas. This balanced mixture of domesticating and foreignising strategies facilitates comprehension whilst at the same time reminding the audience of the foreign origin of the series, to ensure maximum enjoyment.

The Sydney Corpus of Television Dialogue: designing and building a corpus of dialogue from US TV series

This paper reports on the construction of the Sydney Corpus of Television Dialogue (SydTV). SydTV comprises approximately 275,000-words of dialogue from sixty-six episodes of recent US American fictional television series. The paper first provides a brief overview of existing TV dialogue corpora and then outlines the basic corpus composition, the corpus design principles, and the processes of data collection and storage. SydTV is a small, specialised corpus designed with the objective of being representative of fictional US TV dialogue. TV dialogue is defined as the dialogue uttered by actors on screen as they are performing characters in fictional TV series. The corpus is fairly balanced, since it contains 116,295 words from drama genres and 158,779 words from comedy genres as well as 135,887 words from ‘quality’ and 139,187 words from ‘mainstream’ TV series, in addition to a healthy mix of different types of episodes in terms of textual time (pilot episodes, final episodes, episodes occurring at the beginning, middle or end of a season). The corpus is available for educational (teaching and research) purposes through an online interface 2 and has a companion website 3 where frequency lists are provided.

DEEP-AD: A Multimodal Temporal Video Segmentation Framework for Online Video Advertising

In this paper, we introduce the DEEP-AD framework, a multimodal advertisement insertion system dedicated to online video platforms. The framework is designed from the viewer's perspective, in terms of commercial contextual relevance and degree of intrusiveness. The main contribution of the paper concerns a novel multimodal temporal video segmentation algorithm into scenes/stories, which makes it possible to determine automatically the temporal instants that are the most appropriate for inserting advertisement clips. The proposed algorithm exploits various deep convolutional neural networks, involved at several stages. The video stream is first divided into shots based on a graph partition method. The video shots are then clustered into scenes/story units with the help of an agglomerative clustering methodology taking as input visual, audio and semantic features. Furthermore, in order to facilitate the user's access to multimedia documents a novel thumbnail extraction method is proposed based on both semantic representativeness and visual quality information. Finally, the optimal advertisement insertion points are determined based on the ads temporal distribution, commercial diversity and degree of intrusiveness. The experimental results, carried out on a large dataset of more than 30 videos, taken from the French National Television and US TV series validate the proposed methodology with average accuracy and recognition rates superior to 88%. Moreover, when compared with other state of the art methods, the proposed temporal video segmentation yields gains of more than 6% in precision and recall rates.

The look of ageing: Agelessness as post-feminist cool? - The aging female CEO in contemporary US TV series

Recently, older women have started becoming more visible in the media: in film, on television, and in fashion and beauty ads. Taking as my case the representations of the ageing woman as successful CEO in three recent US television series, I address the kind of visibility that is embodied by the older female character in contemporary media. Drawing on discussions of ageing and the female body from cultural gerontology and cultural studies as well as theoretical discussions and empirical studies of representations of ageing women in film and television, I address the notions of agelessness and age appropriateness in relation to the three female CEOs and ask whether the characters represent alternative media images of the older female or merely a new form of ageism.

Mourning Moppa

Research Article| November 01 2017 Mourning Moppa: Mourning without Loss in Jill Soloway's Transparent Simon van der Weele Simon van der Weele Simon van der Weele is a PhD candidate at the University of Humanistic Studies in Utrecht, the Netherlands. His research revolves around concepts of care, disability, and mourning. His current work critically assesses notions of dependency and autonomy by means of a qualitative study of care relations between intellectually disabled persons and their caregivers. Search for other works by this author on: This Site Google TSQ (2017) 4 (3-4): 608–626. https://doi.org/10.1215/23289252-4189983 Cite Icon Cite Share Icon Share Facebook Twitter Email Permissions Search Site Citation Simon van der Weele; Mourning Moppa: Mourning without Loss in Jill Soloway's Transparent. TSQ 1 November 2017; 4 (3-4): 608–626. doi: https://doi.org/10.1215/23289252-4189983 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter Books & JournalsAll JournalsTSQ: Transgender Studies Quarterly Search Advanced Search Abstract The notion of mourning without loss describes a situation in which a subject feels the urge to grieve for a loss he or she cannot claim as one's own. In the US TV series Transparent, such a loss emerges when Maura Pfefferman comes out to her children as a trans woman. The author uses the narrative of Transparent as a springboard to consider how loss figures (and fails to figure) in the “event” of coming out as transgender. Maura “loses” Morton, and her children “lose” their father, yet faced with Maura's presence, their loss remains opaque. Maura's coming out thus hints at the subjectivity of loss: in one and the same situation, loss might occur for some, vaguely, and for others not at all. The author performs a close reading of a scene showing the grief of Maura's son Josh to query theories of mourning rooted in the Freudian tradition. These models frame loss as the severance of a significant attachment, but Transparent fails to dramatize any such rupture, owing to Maura's sustained presence. The author proposes an alternative by considering Bracha Ettinger's notion of metramorphosis. Because for Ettinger attachments are never fully realized nor fully abandoned, her notion of transsubjectivity can help us make sense of affectively felt losses that aren't quite losses. These affects are legitimate, even if their objects might reasonably object to them: Maura, after all, was never lost, never not Maura. mourning, loss, gender transitioning, intersubjectivity, Bracha Ettinger Copyright © 2017 by Duke University Press2017 Issue Section: Articles You do not currently have access to this content.

In our series profiling the world's leading and most influential cardiologists, EHJ CardioPulse meets Professor Murray D Esler.

Professor Murray Esler MBBS PhD is Senior Director of the Baker IDI Heart and Diabetes Institute in Melbourne, Australia, and is renowned for his work on the development of a valid method for testing the human sympathetic nervous system. The application in turn provided a rationale for testing beta-adrenergic blockers in heart failure, and a rationale for developing the renal denervation treatment of hypertension. Born in the Australian provincial city of Geelong, 80 km south of Melbourne, I received local state education to university entry. The fourth of five children, tertiary education was not on the horizon until I came along. My father was an ambulance officer, who in a less regulated era took me in the ambulance to calls. I am sure this influenced my interest in medicine. As a young person I was an enthusiastic sportsman, playing cricket and Australian Rules football. My wife Rosemary is a psychiatrist and we have three daughters (Danielle, doctor; Nicky, lawyer; Simone, engineer), but my youngest, a son Ben, broke the mould to become an actor and more recently was in the cast of the US TV series Hell on Wheels. ![Graphic][1] My interest in medicine came before my interest in science. As a 7 year-old I had whooping cough over the 6-week summer vacation, during which I was confined to bed (standard care for the times). I felt cheated, but saw a lot of my family doctor, a caring man with stately demeanour who I admired and decided to emulate. My trips in the ambulance with my father clinched the case that I would become a doctor. My first exposure to science was in childhood encyclopaedias, which I enjoyed, then in high school chemistry and physics classes. For the Melbourne University medical course, science was an obligatory preamble in … [1]: /embed/inline-graphic-1.gif

Breaking Bad: Intertextuality, Intermediality and Crossmediality, and the Taste of Unpredictability

We will explore some items of transmedia storytelling, intertextuality and intermediality in Breaking Bad, the US TV series that ran from 2008 to 2013 and won multiple awards for directing and screenplay. Nowadays, contemporary tv series are studied as “complex tv” or “serial medial ecosystems” and Breaking Bad has been often defined both “cinematic” then a “postmodern western”. Therefore, we will analyze some socio-cultural and semiotic mechanisms of its relations to movies, to genres like western and noir, to music video, to advertisements and so on, looking for an innovative intermedial way of serial tv fiction, which works crossing the borders between media

A Remembrance of Things (Best) Forgotten: the ‘allegorical past’ and the Feminist Imagination

The US TV series Mad Men, set in an advertising agency in 1960s New York, offers a vivid portrayal of corporate sexism in pre-feminist America, and yet its creators defend it as a ‘feminist’ show. Reflecting on the series, I will draw out two key elements which seem significant for a consideration of the current state of feminism in church and academy, both of which centre around what it means to remember or (not) to forget. First, there is the power of what might be called ‘the allegorical past’ in helping to shape the sensibilities of both feminist theory and feminist theology: reimagining the past in order to destabilize the present and to re-envision the future. But second there is the question of whether we have become too complacent – and forgetful about the sexual revolution of the past 50 years, and whether a new wave of ‘re-membering’ our feminist heritage is required, in order to rejuvenate progressive visions of critique and transformation.

Music and series: the verbalizing role of soundtrack lyrics from TV series to user-generated narrations

In 1984, the creators of Miami Vice — a famous NBC detective drama — added pop and rock hits to the original themes of the soundtrack. This new use of music, later defined as ‘MTV-inspired’, has progressively increased in the last 10 years and has now become one of the widely accepted standards for music and image integration in US TV series and movies. Recently, it has also been fully exploited by users of social networking platforms in creating their own contents. In this article, the author examines how lyrics are used to ‘design’ meaning in both TV series and user-generated narrations, by applying the methodological framework of multimodality outlined by Kress, Van Leeuwen and Jewitt and, in particular, the system network of semiotic resources of sound elaborated by Van Leeuwen.

Reality and fiction in US TV series: Lost, CSI and The West Wing. Narrative strategies and verosimilitude

The purpose of this paper is to present a methodology of analysis of TV series, taking into account the use of reality and fiction in the narrative construction of these series, as well as the use of verosimilitude in ‘real-world’ series. With the methodology chosen, the purpose is to distinguish between the usage of reality and fiction, on one hand, and the usage of thematic recurrence, myth and metaTV references, on the other. The methodology consists of the edition of televisual text. For, inasmuch as we consider that drama series are a text, they can be edited. The empirical analysis deals with three US TV series: Lost, ABC: 2004-, CSI: Crime Scene Investigation, CBS: 2000- and The West Wing, NBC: 1999-2006. They all belong to the drama’s era, but each of them represents a specific subgenre: adventures and science-fiction, crime and forensic, and workplace and politics.

A mythical beast

On the popular US TV series CSI , a rapist almost walks free until crime scene investigators realize he is a chimera: the semen found at the crime scene came from his unborn twin. In an episode of House, MD , doctors tackle the case of a boy, a product of in vitro fertilization, who thinks he has been part of an alien experiment. Conflicting medical tests and the discovery of cells with a different type of DNA are not evidence of alien torture, but rather a sign of the real problem: he is a chimera. On Grey's Anatomy , a tumour turns out to be the testis of a vanished twin, revealing an adolescent to be a hermaphrodite—and a chimera. On All My Children , tests initially indicate that Emma is not Annie's daughter, though Annie swears she gave birth to the girl. A switch in the nursery? No: tissue tests from several organs show Emma is a chimera. The examples do not end there. Over the past few years, US comedies, documentaries and even cartoons have featured chimeric characters, and the condition is now beginning to appear in European programming. > Ironically, although chimerism has long been thought to be rare in humans, the TV writers might have inadvertently got it right Genetics have been a common story line in police series, medical dramas and soap operas for some time. But now that DNA has become mundane, writers are turning to unusual medical conditions such as chimerism to boost their plots. Wikipedia attributes this chimera‐mania to Lawrence Lessig, a law professor at Stanford University (CA, USA), who described chimerism as an underused plot device in his 2004 book Free Culture . Within months, Hollywood responded. Ironically, although chimerism has long been thought to be rare in humans, the TV …