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PHILOSOPHICAL
LITERARY
JOURNAL
ISSN 0869-5377
Author: Bortzmeyer Gabriel

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision

Bortzmeyer Gabriel

PhD Student at the Department of Cinema of the University of Paris 8. Address: 2 rue de la Liberté, 93526 Saint Denis, France. E-mail: gbortzmeyer@gmail.com.

Publications

Serial Cruiser / Logos. 2014. № 5 (101). P. 193-212
annotation:  The article provides a critical consideration of the claim that the rise of TV series marks the return of narratives and overcoming of post-modern fragmentation. The fragmentation is negotiated through focusing of the narrative on place or, rather, ambiance and its potential of developing possibilities. There is no particular non-teleological temporality in the series. Frequent lack of closure undermines the narrative: the events become haphazard and not motivated by necessity. Another peculiarity of the series narrative is compulsory linearity without confused temporalities, ellipses and twists of the narrative time. The article also suggests other important differences between TV series and cinema: role of knowledge and consumption of information in them, the relation of the series to individual forms of consumer’s time, return to a human-oriented vision after the search for an “inhuman” vision in cinema.
Keywords:  series and cinema, return of narrative, linear narrative, temporality, human and inhuman vision
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