Jun 14, 2025
Andy Warhol, Orange Disaster, 1963
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Andy Warhol, Orange Disaster, 1963
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Fanworks and Seriality
The flexible transmedia seriality of fan works becomes obvious in those which have “escaped” fan culture to become mainstream successes. Mainstream audiences often attempt to retroactively build a baseline to make sense of fan works’ narrative and aesthetic experimentation; yet, without access to the history of other fan works, they start from a much more information-light interpretative position than those within the fan community. Their interpretations are not “wrong”, as fan work itself is premised upon audience autonomy and interpretative freedom, but they lack access to the sequence of previous texts against which the fan work gains increased audience. They thereby read the climax of a serial narrative as if it were a stand-alone statement. Kustritz, A. M. 2014. “Seriality and Transmediality in the Fan Multiverse: Flexible and Multiple Narrative Structures in Fan Fiction, Art, and Vids.” TV/Series, No. 6, 225-261. https://doi.org/10.4000/tvseries.331
André-Adolphe-Eugène Disdéri | Carte de visite (demi-mondaine), c. 1855 albumen print. 7¾ x 7 5/8in. (20.2 x 19.8cm.)
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In anticipation of the demand for multiple, small-format prints, André-Adolphe-Eugène Disdéri patented the carte-de-visite in 1854, an inven
PDF | Cartes de visite – the small, full-length portrait photographs that swept France and England in the 1860s – have mainly been analysed
It is interesting to look the concept of seriality, which we frequently discussed in class, through the figure of uroboros: the cycle of death and rebirth, so to say an infinite interruption.
The seriaity, as we defined it, also bears this relation of eternity and finitude: namely, that seriality presupposes the possibility of the final, and yet it could go on and on.
Many TV shows correspond to such serial structure (which is quite expected, they are literally serials), but the one popped in my head was a cult British sci-fi series Doctor Who. This show is a perfect embodimet of the serial infinite interruption, recalling uroboros image.
What makes this show distinctive is regeneration. The main character (alien called the Doctor, to put it it simply) is able to completely transform their body, while (partially) preserving their essence.
This plot device basically allows eternal broadcasting of the show, which goes beyond mortality of the human beings, since change of actors is narratively justified. Every renewal interrupts the flow, and these interruption anticipate re-birth, rather than definitive end.
Peculiar, that in recently aired 60th DW anniversary special episodes beloved characters from previous seasons returned: the Tenth (now Fourteenth) Doctor (played by David Tennant) and his companion Donna Noble.
Such return is not new for the show, it happened both with Doctors and other characters. The novelty is that Tennant's Doctor now can co-exist with all the following doctors, creating the possibility for him to return at any moment.
This co-existence creates a constant anticipation of rupture and repetition.
Albrecht Dürer, Six Studies of Pillows (verso of Self-portrait, study of a hand and pillow), 1493
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And here we encounter the second characteristic of the group as seen by the series: it is a group of experts. This means that the evaluation of music is their profession. No one actually believes that the record is really the best of the year, but at least it must be 'worth listening to.' The quality of being an expert is sovereignty in the milieu of alterity (that is to say, it is transcendent of seriality): and this sovereignty, which is expressed in one specific act, flows into one object and becomes a definite power in it, a right over a certain category of serial individuals. Here we can see precisely the mirage in its elementary form: the record, in a shop window, fresh and new, unique amongst the other records, is the individual unity of interiority-objectification of the individual who produced it and of the small group which chose it. If I go into the shop, buy it and take it away, it is a record-seriality, a record which I must have because the Other has it, a record which I listen to as an Other, adapting my reactions to those which I anticipate in Others. Mirage and metamorphosis: synthetic unity can manifest itself as an abstract determination, in a transcendent milieu, for individuals in an inert gathering; but once an object which has been produced in this way is introduced into the gathering, it acquires structures of alterity, and becomes, in itself, a factor of alterity.
Jean-Paul Sartre, Critique of Dialectical Reason, 645-646
Charles Gaines