In conversation with Carl Plantinga’s persuasive account of emotion and the ethics of engagement in Screen Stories, this article considers how audiences engage with film and television in an emotive, evaluative manner that is mediated by technology. Because sensory experience and immersive technologies set screen media apart from forms of storytelling such as literature and because technological developments affect the formal strategies of screen media, I argue that the distinctiveness of and differences between film and television warrant attention. I focus on the ethical implications of sustained engagement with immersive narratives and technologies in contemporary television and algorithmic culture.
This article is a discussion of and rejoinder to the comments of three respondents on my book, Screen Stories: Emotion and the Ethics of Engagement. Jane Stadler argues that the book would profit from more attention to the “temporal prolongation” made possible by multi-episode television, especially as it relates to the nature of character engagement. While I have reservations about the notion of medium specificity in relation to television and film (and thus prefer the term “screen stories”), I agree that temporal prolongation in relation to an ethics of screen stories is a vital topic. Malcolm Turvey argues that Screen Stories promotes moral intuition and emotion at the expense of moral reasoning and that an ethics of engagement should pay equal attention to reasoning. In my response, I enumerate four reasons why, despite my belief in the importance of reasoning, I focus on emotion and intuition. I do agree that, once we can decide just what moral reasoning is, it should become a focus of an ethics of engagement. Cynthia Freeland focuses her remarks on various aspects of the third part of my book, “The Contours of Engagement,” in which I examine how the features of screen stories can lead to viewer experiences with ethical implications. In response, I discuss three issues: medium specificity once more, the supposed tension between conceptions of the active and passive spectator, and the psychological underpinnings of various sorts of character engagement.
How Schlager (ZDF 1969–1984) Beat Disco (ZDF 1971–1982)
During the broadcast era, dominant culture reigned supreme on West German television. Das Zweite Deutsche Fernsehen (zdf) achieved ratings of close to 74 percent during the long Saturday slot in the 1970s. This mass reach, especially of its live popular music programs with built-in audience votes, is often disregarded in historical arguments that focus on the political disunion of that decade. This article takes a closer look at two very different, yet exceptionally popular music shows, Deutsche Hitparade (1969–1984) and Disco (1971–1982), to investigate how the anxiety over sociopolitical change is negotiated on live television, how medium specificity intersects with constructions of masculinity and authority, and how different music and television formats question, manage and produce a national imaginary.
issue with Héctor J. Pérez's analysis of the significance of a particular narrative device—the plot twist— in the context of serial television. Tacitly engaging with another of Carroll's field-shaping arguments—in this case, about medium specificity
David Miranda-Barreiro, Michelle Herte, Joe Sutliff Sanders and Mark McKinney
across a variety of media other than literature, and the shortage of truly transmedial – rather than medium-specific – research. Thon himself follows a ‘media-conscious’ (22) approach, avoiding both the traps of ‘media blindness’ and ‘media relativism
Comics, Memory, and Cultural Representations of 17 October 1961
different narrative strategies and choices attendant on the transition from the novel to the comic form. The article will then evaluate the medium-specific features of Octobre noir as a comic book and the impact of a documentary aesthetic that re
asking questions about narrative for a long time; David offered an arsenal of precisely targeted answers. Narration in the Fiction Film is highly medium-specific and highly historicized, but everything it says about film can and should be extended across
, Comics and Narration , 17. 13 Groensteen, System of Comics , 19. 14 Pascal Lefèvre, ‘Some Medium-Specific Qualities of Graphic Sequences’, SubStance 40, no. 1 (2011), 14–33 (26). 15 Groensteen, Comics and Narration , 17. 16 Barbara Postema, Narrative
Héctor J. Pérez
importance of medium-specific factors such as multiplot structure and temporal prolongation in eliciting and sustaining spectator belief within a fictional context. Second, I have considered how a multiplot structure also serves to give aesthetic prominence
Harriet Kennedy, Elizabeth (Biz) Nijdam, Logan Labrune and Chris Reyns-Chikuma
‘reaches explicitly for medium-specific constraints’ (243). This movement away from a copy or pure aestheticisation of the adapted work translates the current climate in adaptation studies and therefore echoes a much larger research question on the context