Más allá de las palabras: análisis cuantitativo de narrativas visuales seriales complejas mediante observaciones basadas en la interacción
Contenido principal del artículo
Resumen
A pesar de que las diferencias entre las estructuras de la narrativa visual serializada y otro tipo de medios visuales o literarios han sido ampliamente reconocidas por la academia, el análisis cuantitativo actual del caso específico de las series de televisión aún se basa en contar instancias o en marcos generales de análisis narrativo. En este artículo intentamos reparar este desajuste mediante la construcción de un modelo basado en las interacciones entre personajes, adaptado a la complejidad de este tipo de narraciones. Para probar sus posibilidades, codificamos las tres primeras temporadas de HBO Game of Thrones y construimos un indicador numérico que puede usarse para el análisis de los personajes más allá de los métodos tradicionales de interpretación. Los resultados muestran una alta correspondencia con un análisis textual tradicional de los personajes, incluso si el modelo no tomó ningún diálogo para evaluar el contenido.
Detalles del artículo
Citas
Bal, M., & Van Boheemen, C. (2009). Narratology: Introduction to the theory of narrative. University of Toronto Press.
Bandelj, N (2003). How Method Actors Create Character Roles. In Sociological Forum, Vol. 18, No. 3 pp. 387-416.
Beveridge, A., & Chemers, M. (2018). The Game of Game of Thrones: Networked Concordances and Fractal Dramaturgy. In Reading Contemporary Serial Television Universes (pp. 201-225). Routledge.
Bignell, J. (2002). Media semiotics: An introduction. Manchester University Press.
Blakey, E. (2017). Showrunner as auteur: Bridging the culture/economy binary in digital Hollywood. Open Cultural Studies, 1(1), 321-332.
Bost, X., Labatut, V., Gueye, S., & Linarès, G. (2016, August). Narrative smoothing: dynamic conversational network for the analysis of TV series plots. In 2016 IEEE/ACM International Conference on Advances in Social Networks Analysis and Mining (ASONAM) (pp. 1111-1118). IEEE.
Braga, P. (2019). The Italian Storytelling Approach to TV Seriality Compared to the US Method. A Case Study. Comunicazioni sociali, 41(3), 380-394.
Brembilla, P., & De Pascalis, I. A. (Eds.). (2018). Reading contemporary serial television universes: A narrative ecosystem framework. Routledge.
Budniakiewicz, T. (1992). Fundamentals of story logic: Introduction to Greimassian semiotics (Vol. 5). John Benjamins Publishing.
Buonanno, M. (2019). Seriality: Development and disruption in the contemporary medial and cultural environment. Critical Studies in Television, 14(2), 187-203.
Cascajosa-Virino, C. (2018). The emergence of the showrunner in global contemporary TV fiction: The case of Pau Freixas in Catalonia. Catalan Journal of Communication & Cultural Studies, 10(1), 125-132.
Casoli, S. (2019). Le forme del personaggio. Tipologie, morfologie e sistemi di relazione degli individui finzionali nelle narrazioni seriali televisive contemporanee (Doctoral dissertation, alma).
Castro Sáez, Bernardo A. (2011) Aportes de Niklas Luhmann a la teoría de la complejidad. Polis, Revista de la Universidad Bolivariana, vol. 10, núm. 29
Chunchun, S. H. E. N. T. U. (2012). Conflict trigger and its response mechanism in conflict talks——a case study of conflict talks in TV series. Journal of Liaoning Technical University (Social Science Edition), 4.
Collantes, X. R., Obradors, M., Pujadas, E., Ferrés, J., & Pérez, Ó. (2011). Qualitative-quantitative analysis of narrative structures: the narrative roles of immigrants in Spanish television series. Semiotica, 2011(184), 99-121.
Dillman Carpentier, Francesca R.; Rogers, Ryan; and Barnard, Lisa, «Eliciting Behavior From Interactive Narratives: Isolating the Role of Agency in Connecting With and Modeling Characters» (2015). Department of Strategic Communication Faculty Publications. 7.
https://digitalcommons.ithaca.edu/comm_management_faculty_pubs/7
Doyle, C. L. (1998). The writer tells: The creative process in the writing of literary fiction. Creativity Research Journal, 11(1), 29-37.
Dreyfus, H. L., & Rabinow, P. (2014). Michel Foucault: Beyond structuralism and hermeneutics. University of Chicago Press.
Eden, A., Oliver, M. B., Tamborini, R., Limperos, A., & Woolley, J. (2015). Perceptions of moral violations and personality traits among heroes and villains. Mass Communication and Society, 18(2), 186-208.
Galán, F.E. (2006). Personajes, estereotipos y representaciones sociales. Una propuesta de estudio y análisis de la ficción televisiva. Eco-Pos, 9 (1), 58-85.
Galán, F.E. (2007). Fundamentos básicos en la construcción del personaje para medios audiovisuales. CES Felipe II, (7), 1-12.
Gavin, R. (1996). » The Lion King» and» Hamlet»: A Homecoming for the Exiled Child. The English Journal, 85(3), 55-57.
Gregori-Signes, C. (2017). “Apparently, women don’t know how to operate doors»: A corpus-based analysis of women stereotypes in the TV series 3rd Rock from the Sun. International Journal of English Studies, 17(2), 21-43.
Grizzard, M., Huang, J., Fitzgerald, K., Ahn, C., & Chu, H. (2018). Sensing heroes and villains: Character-schema and the disposition formation process. Communication research, 45(4), 479-501.
Grodal, T. (1999). Moving pictures: A new theory of film genres, feelings, and cognition.
Gorton, K. (2009). Media Audiences: Television, Meaning and Emotion: Television, Meaning and Emotion. Edinburgh University Press.
Gudiño Cícero, Yolanda José (2019) Claves para la construcción de personajes metabólicos femeninos para series dramáticas de televisión: la última frontera (Master Thesis, Universidad Intercontinental, Ciudad de México, México)
Harris, D., & Willoughby, H. (2009). Resuscitation on television: Realistic or ridiculous? A quantitative observational analysis of the portrayal of cardiopulmonary resuscitation in television medical drama. Resuscitation, 80(11), 1275-1279.
Hawkes, T. (2003). Structuralism and semiotics. Routledge.
Kartyas, P. (2016) Examination of the Correlation Between Self-Efficacy and Agency Based on the Content Analysis of Role Play Texts. Transylvanian Journal of Psychology Issue 2, p151-180. 30p.
Kleemans, M., Eden, A., Daalmans, S., van Ommen, M., & Weijers, A. (2017). Explaining the role of character development in the evaluation of morally ambiguous characters in entertainment media. Poetics, 60, 16-28.
Krakowiak, K. M., & Tsay-Vogel, M. (2013). What makes characters’ bad behaviors acceptable? The effects of character motivation and outcome on perceptions, character liking, and moral disengagement. Mass Communication and Society, 16(2), 179-199.
Landis, J. R., & Koch, G. G. (1977). The measurement of observer agreement for categorical data. Biometrics, 33, 159-174
Lieberman, E. A., Neuendorf, K. A., Denny, J., Skalski, P. D., & Wang, J. (2009). The language of laughter: A quantitative/qualitative fusion examining television narrative and humor. Journal of Broadcasting & Electronic Media, 53(4), 497-514.
Livingstone, S. (2013). Making sense of television: The psychology of audience interpretation. Routledge.
Mann, B. L. (2008). The evolution of multimedia sound. Computers & Education, 50(4), 1157-1173.
Mead, G. (1990). The representation of fictional character. Style, 440-452.
Mittell, J. (2015). Complex TV: The poetics of contemporary television storytelling. NYU Press.
Newman, M. Z. (2006). From beats to arcs: Toward a poetics of television narrative. The velvet light trap, 58(1), 16-28.
Rojas, T. A. (2019). Transmedia Storytelling and Construction of Fictional Worlds: Aliados Series as Case Study. In Correspondencias & Análisis, 9, enero – junio 2019Sainsbury, R. M. (2009). Fiction and fictionalism. Routledge.
Seidman, S. A. (1981). On the contributions of music to media productions. ECTJ, 29(1), 49-61.
Silva, P., Amer, Y., Tsikerdanos, W., Shedd, J., Restrepo, I., & Murray, J. (2015, June). A game of thrones companion: Orienting viewers to complex storyworlds via synchronized visualizations. In Proceedings of the ACM International Conference on Interactive Experiences for TV and Online Video (pp. 167-172).
Smith, G. M. (2006). A case of Cold Feet: serial narration and the character arc. Journal of British Cinema and Television, 3(1), 82-94.
Sundet, V. S. (2016). Still ‘Desperately seeking the audience’? Audience making in the age of media convergence (the Lilyhammer experience).
Northern Lights: Film & Media Studies Yearbook, 14(1), 11-27.
Sundet, V. S. (2017). Co-produced television drama and the cost of transnational ‘success’: The making of Lilyhammer. Building Successful and Sustainable Film and Television Businesses: A Cross-National Perspective, 67-88.
Tefertiller, A., & Sheehan, K. (2019). TV in the Streaming Age: Motivations, Behaviors, and Satisfaction of Post-Network Television. Journal of Broadcasting & Electronic Media, 63(4), 595-616.
Veale, T. (2014, June). Coming good and breaking bad: Generating transformative character arcs for use in compelling stories. In Proceedings of the 5th international conference on computational creativity.
Vogler, C. (2017). Joseph Campbell Goes to the Movies: The Influence of the Hero’s Journey in Film Narrative. Journal of Genius and Eminence, 9.