Reading 24: TV against the Clock (Reading Contemporary by Steven Peacock

By Steven Peacock

Time has named 24 one of many "Best tv occasions of the Decade." With an leading edge layout that makes use of one hour of genuine time for every episode, and a season that includes one twenty-four hour interval, the convey zeroes in at the fears and hazards of a post-9/11 international and the ways that threats are transmitted, tracked down, and fought. From assassination makes an attempt and germ war to bad terrorist plots, Kiefer Sutherland's Agent Jack Bauer embodies America's darkest fears and its perilous position on this planet this day. This e-book brings jointly serious discussions of the sequence from many various perspectives.  It covers every thing from the show's unconventional layout to discussions of globalism, oil, the politics of torture, and gender, and comprises an episode advisor.

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Reading 24: TV against the Clock (Reading Contemporary Television)

Time has named 24 one of many "Best tv occasions of the last decade. " With an leading edge layout that makes use of one hour of genuine time for every episode, and a season that contains one twenty-four hour interval, the convey zeroes in at the fears and hazards of a post-9/11 global and the ways that threats are transmitted, tracked down, and fought.

Additional resources for Reading 24: TV against the Clock (Reading Contemporary Television)

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The panels of a diptych, triptych (three-panelled) or polyptych (multi-panelled) are designed to fold out, gradually revealing the narrative progression across all panels. For example, in Grunwald’s Isenheim Altarpiece of 1515, its closed position shows the Crucifixion in the central panel and saints in flanking panels. Opening the panels reveals representations of stages in Christ’s narrative, such as the Annunciation and the Resurrection (Mellinkoff 1988: 4–6). Although the ‘action’ of the narrative is sequential, in that it describes stages in the story of Christ, rather than suggesting simultaneous time as in 24, the process of inferring narrative connection across the guided revelation of events framed in panels is similar.

Instead, the programme thematically foregrounds difficult choices and their consequences, emphasising the fractured nature of these threats with its stylistic and formal conceits. Just as global terrorism requires resistance at a multiplicity of locations, so must 24 seek to contain its multiplicity of narrative threads – the programme literally splits the screen in order to accomplish this. All of this occurs within the compelling yet limiting context of a fictional television serial, one that is constantly inscribed by the tension between the openness granted by the show’s serial nature and the promised closure that completes each season.

Finally, we analyse how the style and structure work against a seemingly conventional narrative to resist simple ideological closure. To varying degrees in each of these three cases, we find that 24 represents a break from traditional academic discussions of quality television. It does not share many of the generic traits which often serve as markers for quality television, and it is often fantastic and excessive in spite of its appeals to realism. 24 does, however, challenge the existing definitions of quality television through its insistent and innovative use of stylistic and structural techniques.

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