Detective Storyworlds: Longmire, True Detective, and La trêve

This paper addresses one question: What makes detective series popular today? In the past, scholars have responded that the genre is mainly focused on plot, to the point of becoming a narrative prototype. This approach explains why detective fiction appears to be more limited in its proliferation across media than other genres such as fantasy or science fiction. If plot is the dominant feature of the genre, and plot somehow works against proliferation, then why are we still producing and consuming so many detective series? Following Marie-Laure Ryan, I wish to argue that a shift from plot to worldbuilding has occurred in detective fiction. This shift follows the evolution of narrative theory which in the last decades had to expand to other disciplines and media. In the same way that narratology embraced the new concept of ‘world,’ popular series have adopted its potential to proliferate, an aptitude that is now truly part of its aesthetics and poetics. I want to describe and understand the increasingly important role played by storyworlds in detective fiction so as to better apprehend how popular series are made in our cultural era of mass media production.

Woman Representation in Turkish Detective Series

In Turkish series, the audience watches so many representations of women. It is always so clear that woman has some trouble during her life especially if she works somewhere. And if she is a police officer, these troubles get more and more. She works in a very stressful place and has really hard times. The scope of the study is to examine woman representation in Şahsiyet mini internet series. In this study, the woman commissioner Nevra who is a character in Şahsiyet series, which was presented to the audience over the internet in 2018, was examined with the qualitative content analysis.

La figura del narrador en la ficción radiofónica seriada: el caso de ´Taxi Key´

In spite of the prominence acquired by dialogues among characters in creating a series, we cannot ignore that radio speech can be represented in turn by the narrators’s presence. For this reason, in the present article the emblematic Taxi Key detective series has been selected as an object of study, in order to determine the narrators’s appearance percentage in the series episodes, the narrator’s typology that prevails and the main functions that plays in this fictional product. It is an exploratory study in which descriptive and inferential analyzes have been made from Taxi Key original radio scripts. The results of the study reveal that narrator’s presence reaches the most significant prevalence in the episodes of the sample, being the autodiegetic narrator who stands as the most frequent type of narrator. Providing contextual information, acting as a nexus and transition device between scenes and assessing the characters or incorporating them on stage are the narrator’s functions that prevail in this series that remained almost twenty years on Radio Barcelona network. Keywords: Series; Taxi Key; Radio Script; Detective Fiction Genre; Storyteller; Autodiegetic.

A Working Director

This chapter talks about the completion of Four Sided Triangle, which was received as just another science-fiction programmer at the time, and marked no immediate advance in Terence Fisher's status as a director. It discusses the importance of rehearsal to Fisher, sp much that even in his lowest budgeted films, he always insisted on some time to work with the actors on the floor. It also describes how Fisher rehearsed the actors just before the cameras rolled and shot the scene immediately when he was happy with the results. The chapter recounts Fisher's method of working on a film in 1973, from the first day of shooting onward. It looks at Fisher's work in television, such as his directorial work on an episode of Colonel March of Scotland Yard in 1956, a half-hour detective series with occasional supernatural overtones.