Exploring Seriality on Screen This collective book analyzes seriality as a major phenomenon increasingly connecting audiovisual narratives (cinematic films and television series) in the 20th and 21st centuries. The book historicizes and contextualizes the notion of seriality, combin- ing narratological, aesthetic, industrial, philosophical, and political per- spectives, showing how seriality as a paradigm informs media convergence and resides at the core of cinema and television history. By associating theoretical considerations and close readings of specific works, as well as diachronic and synchronic approaches, this volume offers a complex pan- orama of issues related to seriality including audience engagement, inter- textuality and transmediality, cultural legitimacy, authorship, and medium specificity in remakes, adaptations, sequels, and reboots. Written by a team of international scholars, this book highlights a di- versity of methodologies that will be of interest to scholars and doctoral students across disciplinary areas such as media studies, film studies, litera- ture, aesthetics, and cultural studies. It will also interest students attending classes on serial audiovisual narratives and will appeal to fans of the series it addresses, such as Fargo, Twin Peaks, The Hunger Games, Bates Motel, and Sherlock. Ariane Hudelet is Professor of Visual Culture at Université de Paris (LARCA/CNRS). After working on film adaptations, she has devoted her most recent research to contemporary TV dramas, from an aesthetic and cultural perspective, and is co-editor of the online journal TV/Series. Anne Crémieux is Professor of American studies at Université Paris 8 – Vincennes-Saint Denis. She has published books, articles and book chap- ters on the representation of minorities in cinema and television. Routledge Research in Cultural and Media Studies Media Cultures in Latin America Key Concepts and New Debates Edited by Anna Cristina Pertierra and Juan Francisco Salazar Cultures of participation Arts, digital media and cultural institutions Edited by Birgit Eriksson, Carsten Stage and Bjarki Valtysson Adapting Endings from Book to Screen Last Pages, Last Shots Edited by Armelle Parey and Shannon Wells-Lassagne Migration, Identity, and Belonging Defining Borders and Boundaries of the Homeland Edited by Margaret Franz and Kumarini Silva Exploring Seriality on Screen Audiovisual Narratives in Film and Television Edited by Ariane Hudelet and Anne Crémieux Locating Imagination in Popular Culture Place, Tourism and Belonging Edited by Nicky van Es, Stijn Reijnders, Leonieke Bolderman, and Abby Waysdorf For more information about this series, please visit: https://www.routledge.com Exploring Seriality on Screen Audiovisual Narratives in Film and Television Edited by Ariane Hudelet and Anne Crémieux First published 2021 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 52 Vanderbilt Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2021 Taylor & Francis The right of Ariane Hudelet and Anne Crémieux to be identified as the authors of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data A catalog record has been requested for this book ISBN: 978-0-367-49148-2 (hbk) ISBN: 978-1-003-04477-2 (ebk) Typeset in Sabon by codeMantra Contents List of illustrations vii Acknowledgments ix List of contributors xi Introduction: cinematic, televisual, or post- serialities 1 ARIANE HUDELET AND ANNE CRÉMIEUX PART I Serial specificities 17 1.1 Opening gambits: cross- media self- reflexivity and audience engagement in serial cinema, 1936–2008 19 ILKA BRASCH AND FELIX BRINKER 1.2 Ensemble storytelling: dramatic television seriality, the melodramatic mode, and emotions 37 E. DEIDRE PRIBRAM 1.3 The cinematic- televisual: rethinking medium specificity in television’s new Golden Age 53 C.E. HARRIS PART II Marketing seriality 77 2.1 A forgotten episode in the history of Hollywood cinema, television, and seriality: the case of the Mirisch Company 79 PAUL KERR vi Contents 2.2 Diversions in the Hunger Games film series: the fragmented narrative of hijacked images 103 CHLOÉ MONASTEROLO 2.3 Raising Caine: Hollywood remakes of Michael Caine’s Cockney cycle 122 AGNIESZKA RASMUS PART III Seriality and the cinematic/televisual convergence 137 3.1 The (re)making of a serial killer: replaying, “preplaying,” and rewriting Hitchcock’s Psycho in the series Bates Motel 139 DENNIS TREDY 3.2 Fargo (FX, 2014–) and cinema: “just like in the movie”? 159 SYLVAINE BATAILLE 3.3 Screening dreams: Twin Peaks, from the series to the film, back again and beyond 177 SARAH HATCHUEL PART IV Meta-s erialities 197 4.1 In- between still and moving pictures: series and seriality in Stephen Poliakoff’s serial drama Shooting the Past (1999) 199 NICOLE CLOAREC 4.2 “The abominable bride”: Sherlock and seriality 213 CHRISTOPHE GELLY 4.3 Subject positions and seriality in The Good Wife 233 SAMUEL A. CHAMBERS Index 259 Illustrations Figures 3.1.1 Starting Over: The idyllic shot of Norma Bates (Vera Farmiga) that bookends the entire Bates Motel series (S01E01, S05E10) 147 3.1.2 The Gradual Decline of Norman Bates: this chart indicates episodes over all four “prequel” seasons which stage the progressive symptoms of Norman’s descent into madness. Higher bars indicate episodes that give more intense focus on that trait 154 4.2.1 The initial stage in the train travel 217 4.2.2 The same image turning around with the Carmichael mansion in the background 218 4.2.3 The superimposition of both images upside down 218 4.2.4 The Carmichael mansion 219 4.2.5 Holmes as a second Jeremy Brett 226 4.2.6 The famous Granada credit sequence 226 4.2.7 The narrative as metafictional 228 4.2.8 21st- century Watson appearing in the 19th- century narrative 230 Table 2.3.1 Theatrical and DVD release dates of Michael Caine’s British originals and their Hollywood remakes 128 Acknowledgments Ariane Hudelet and Anne Crémieux would like to thank the LARCA (Uni- versité de Paris/CNRS), CREA (Université Paris Nanterre), and CERILAC (Université de Paris), for their financial and institutional help during the completion of this project. Our warmest thanks as well to the SERCIA (Société d’étude et de re- cherche sur les cinémas anglophones) and to the GUEST consortium, which made it possible to organize the 2016 conference on “Cinema and Seriality” that led to this publication.