‘E pluribus Unum’: toward a poetics of the TV anthology

The TV anthology series, which enjoyed significant popularity in the past but has been scarce amidst the dominance of episodic series and serials in the 2000s and early 2010s, seemed to experience a kind of renaissance after the international success of Black Mirror (Channel 4, 2011–2014; Netflix, 2...

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Detalles Bibliográficos
Autores: Castrillo-Maortua, P. (Pablo)|||/items/b5fec873-1277-4924-923e-6a0ebb3226a7, García-Martínez, A.N. (Alberto Nahum)|||/items/943f6505-d635-447d-a86c-2faf57c261f5
Tipo de recurso: artículo
Fecha de publicación:2024
País:España
Institución:Universidad de Navarra
Repositorio:Dadun. Depósito Académico Digital de la Universidad de Navarra
Idioma:inglés
OAI Identifier:oai:dadun.unav.edu:10171/119150
Acceso en línea:https://hdl.handle.net/10171/119150
Access Level:acceso abierto
Palabra clave:TV Anthology series
Narrative Analysis
Poetics
Seriality
Formats
Descripción
Sumario:The TV anthology series, which enjoyed significant popularity in the past but has been scarce amidst the dominance of episodic series and serials in the 2000s and early 2010s, seemed to experience a kind of renaissance after the international success of Black Mirror (Channel 4, 2011–2014; Netflix, 2016–present), followed by other popular shows like Room 104 (HBO, 2017–2020) and Philip K. Dick’s Electric Dreams (Channel 4/Amazon Prime Video, 2017–2018). The anthology format differs from series and serials in that its seasons consist of packages of episodes that are not connected by a narrative throughline, but instead feature a different plot, cast, and story world in each installment, raising the question of whether they can really be described in terms of ‘seriality’. This article explores the serial qualities of the anthology format and the source of poetic unity that grants cohesion to the multifarious episodes bound together in this type of show. In the absence of narrative accumulation, alternative qualities of seriality are examined and several ‘anthological markers’ are identified. Ultimately, this article argues for a poetic peculiarity of the format that is determined by a dynamic interplay between a single creative purpose and episodic variety and experimentation.