Mac387 franchising fantasy: The Walking Dead and Game of Thrones
Rough draft of slides used for Sci-fi module
Published in: Education
Transcript
- 1. Literary origins Science fiction and scholars: Raymond Williams (1956/1988) Contemporary ‘structure of feeling’ Darko Suvin (1972; 1979) Cognitive estrangement Marc Angenot (1979) Semiotics Tom Moylan (1986) Utopian studies Fredric Jameson (2005) Postmodern history
- 2. The legacy of network television
- 3. Serialized complexity
- 4. Worlds without technology
- 5. Cross-over appeal?
- 6. Network television Dominated by big 3 (NBC, ABC, CBS) Pre-1980s success based on audience share (~30%) Science fiction struggled on TV (contrast with cinema) Emergence of cable, satellite, VCR, etc Audience fragmentation and establishment of niche demographics
- 7. Television: the perfect home? “[Science fiction] has come of age: not only can it tell stories of cognitive estrangement, it can deliver them with persuasively ‘realistic’ visuals” Jan Johnson–Smith, 2005: 71
- 8. The rise of cable TV “Cable substantially altered the viewers’ experience with its introduction of a vast array of channels. In 1988, 50 percent of US households subscribed to cable, which was the subscription base analysts believed necessary … to achieve profitability. This subscription level marked an increase form just 19.9 percent in 1980, grew to 65.4 percent in 1990, and reached 68 percent in 2000” Lotz, 2007: 52-3
- 9. 2 categories Successful niche shows Air on cable networks that can support ‘high-buzz’ shows with smaller audiences Often small but loyal fan bases Critical acclaim and awards success Problematic shows Air on the broadcast networks Often lasted multiple seasons despite low ratings Continually in danger of cancellation
- 10. The Importance of Being Earnest Zombies, dragons, wizards… Seldom held in high regard despite the seriousness of fan investment “[Fans] insist on making meaning from materials others have characterized as trivial and worthless” Henry Jenkins, 1992: p.3.
- 11. So, why now? “The 'Lord of the Rings' films are 10 years old at this point and they were incredibly lucrative. That’s what it takes, an investment that shows that the private sector will go and watch these” Ian Bogost, 2012
- 12. High fantasy Lloyd Alexander (1971) essay on ‘High Fantasy and the Heroic Romance’ Developed by Kenneth Zahorski and Robert Boyer Set in secondary world Low fantasy set in primary world with magical elements
- 13. What is not high fantasy: humorous fantasy, animal fantasy, ‘myth fantasy’, fairly tales, gothic fantasy, science fantasy, and sword and sorcery. …according to Zahorski and Boyer What’s left????
- 14. Before Game of Thrones…
- 15. Wizards and Warriors (1983)
- 16. Robin of Sherwood (1984-1986)
- 17. Covington Cross (1992)
- 18. Conan: The Adventurer (1997)
- 19. Roar (1997)
- 20. Legend of the Seeker (2008-10)
- 21. Hercules: The Legendary Journeys (1995-99)
- 22. Xenia: Warrior Princess (1995-2001)
- 23. Highlander (1992-98)
- 24. Babylon Fields (2007)
- 25. Convergence General cultural shift towards much broader audience participation and activity across the board of audience-media relationships. “fans have become the ideal viewer-consumer” Sue Short, 2011: p.6
- 26. The franchise
- 27. George R. R. Martin A Song of Ice and Fire (1996-present)
- 28. Big budget The pilot reportedly cost HBO between $5-10 million The total budget for the first season has been estimated at $50–60 million. Season 2 received a 15% budget increase in order to stage the epic ‘clash of kings’ battle that the second Martin book was named after. HBO is owned by Time-Warner and can operate at a loss if needs be.
- 29. Ratings 1st series averaged 2.5 million viewers (US) 2nd series = 3.8 million (total consolidated viewers = 10.3m) 3rd series = 4.97 million (total consolidated viewers = 11.6m) 4th series = 6.8 million (total consolidated viewers = 18.6m) 5.9 million illegal downloads per episode The most illegally downloaded show of 2012 and 2013 Initially very few legal alternatives
- 30. The franchise
- 31. Robert Kirkman
- 32. Big Budget Budget of $3.4 million per episode for first season Budget of $2.7 million for second season Season 3 had an undisclosed budget boost As a comparison The Big Bang Theory has a budget of $2m per episode Game of Thrones $6 million
- 33. Ratings Series 1 averaged 5.24 million viewers. Season 2 averaged 6.9 million viewers Season 3 averaged 10.4 million viewers Season 4 averaged 13.3 million viewers Season 5 opened with 17.3 million viewers A record for a basic cable show
- 34. Patriarchal power?
- 35. Monstrous feminine? “Proper control over wombs, and the anxiety that they will be captured, polluted, or compromised is a kind of Ur-myth for the apocalyptic genre in general and the zombie sub-genre in particular; speaking broadly, the function of women in most apocalyptic narratives is to code the ending as “happy” or “sad” based on their continued ability to bear the male protagonist’s children when the story is over” Gerry Canavan, 2010: 444
- 36. Cersei S1E7
- 37. Daenerys S1E1
- 38. Afterward she could not say how far or how long they had ridden, but it was full dark when they stopped at a grassy place beside a small stream. Drogo swung off his horse and lifted her down from hers. She felt as fragile as glass in his hands, her limbs as weak as water. She stood there helpless and trembling in her wedding silks while he secured the horses, and when he turned to look at her, she began to cry. Khal Drogo stared at her tears, his face strangely empty of expression. "No," he said. He lifted his hand and rubbed away the tears roughly with a callused thumb. "You speak the Common Tongue," Dany said in wonder. "No," he said again. Perhaps he had only that word, she thought, but it was one word more than she had known he had, and somehow it made her feel a little better. Drogo touched her hair lightly, sliding the silver-blond strands between his fingers and murmuring softly in Dothraki. Dany did not understand the words, yet there was warmth in the tone, a tenderness she had never expected from this man. He put his finger under her chin and lifted her head, so she was looking up into his eyes. Drogo towered over her as he towered over everyone. Taking her lightly under the arms, he lifted her and seated her on a rounded rock beside the stream. Then he sat on the ground facing her, legs crossed beneath him, their faces finally at a height. "No," he said. "Is that the only word you know?" she asked him.
- 39. Drogo did not reply. His long heavy braid was coiled in the dirt beside him. He pulled it over his right shoulder and began to remove the bells from his hair, one by one. After a moment Dany leaned forward to help. When they were done, Drogo gestured. She understood. Slowly, carefully, she began to undo his braid. It took a long time. All the while he sat there silently, watching her. When she was done, he shook his head, and his hair spread out behind him like a river of darkness, oiled and gleaming. She had never seen hair so long, so black, so thick. Then it was his turn. He began to undress her. His fingers were deft and strangely tender. He removed her silks one by one, carefully, while Dany sat unmoving, silent, looking at his eyes. When he bared her small breasts, she could not help herself. She averted her eyes and covered herself with her hands. "No," Drogo said. He pulled her hands away from her breasts, gently but firmly, then lifted her face again to make her look at him. "No," he repeated. "No," she echoed back at him. He stood her up then and pulled her close to remove the last of her silks. The night air was chilly on her bare skin. She shivered, and gooseflesh covered her arms and legs. She was afraid of what would come next, but for a while nothing happened. Khal Drogo sat with his legs crossed, looking at her, drinking in her body with his eyes.
- 40. After a while he began to touch her. Lightly at first, then harder. She could sense the fierce strength in his hands, but he never hurt her. He held her hand in his own and brushed her fingers, one by one. He ran a hand gently down her leg. He stroked her face, tracing the curve of her ears, running a finger gently around her mouth. He put both hands in her hair and combed it with his fingers. He turned her around, massaged her shoulders, slid a knuckle down the path of her spine. It seemed as if hours passed before his hands finally went to her breasts. He stroked the soft skin underneath until it tingled. He circled her nipples with his thumbs, pinched them between thumb and forefinger, then began to pull at her, very lightly at first, then more insistently, until her nipples stiffened and began to ache. He stopped then, and drew her down onto his lap. Dany was flushed and breathless, her heart fluttering in her chest. He cupped her face in his huge hands and looked into his eyes. "No?" he said, and she knew it was a question. She took his hand and moved it down to the wetness between her thighs. "Yes," she whispered as she put his finger inside her.
- 41. Game of Thrones Dynamite Entertainment Issue 3
- 42. Ros S1E7
- 43. ‘sexposition’
- 44. @rob_jewitt
- 45. Context ‘The issue of primacy’ Lefèvre, 2007: 2 ‘Elegiac discourse of loss’ Stam, 2005: 3
- 46. Adaptation is the norm There are precious few stories around that have not been ‘lovingly ripped off’ from others. In the workings of the human imagination, adaptation is the norm, not the exception Hutcheon, 2006: 177
- 47. 1. Discourse of fidelity in official paratexts 2. Comparison between comic and TV series
- 48. Comic-Con 2010 Video from Season 1 Blu-Ray ‘Making of’ feature
- 49. Same but different? Video from Season 1 Blu-Ray ‘Making of’ feature
- 50. Managing risk 1 ‘First, we knew we had something that had not been done before. There is a lot of pressure in that, but there is also great opportunity. We knew we had a great team, and we had total confidence in the quality of the comics as source material. If we didn't have the comics as a road map, it would have been a much harder decision’ Joel Stillerman, AMC’s senior vice president of original programming, production and digital content
- 51. Managing risk 2 ‘We also had a healthy interest in the genre, well-executed, in series form … Notwithstanding the long history of zombies as a popular film genre, a zombie series was something we had never seen on television before. That uniqueness always interests us.’ Charlie Collier, AMC’s president
- 52. Storyboards 1 ‘The graphic novels are kind of like a rather exotic storyboard … Some of the more iconic images we did reproduce pretty accurately’ David Tattersall, director of photography, Ep1
- 53. Storyboards 2 Video from Season 1 Blu-Ray ‘Making of’ feature
- 54. Visual narrative We’re very fortunate to have a visual narrative to draw upon in designing The Walking Dead … You are able to see the entire arc of the show, and of course, we found ourselves inspired to use some key images. First and foremost is Rick’s approach to the skyline of Atlanta. That was such an iconic panel from the comic book that it had a great influence over my work Greg Melton, production designer
- 55. Cleary visible organs/origins? 28 Days Later Night of the Living Dead
- 56. Cleary visible organs/origins? Dawn of the Dead Shaun of the Dead
- 57. Cleary visible organs/origins? I Am Legend
- 58. Episode 1 – Days Gone Bye
- 59. Episode 2 - Guts
- 60. Episode 3 – Tell It To The Frogs
- 61. Episode 4 - Vatos
- 62. Episode 5 - Wildfire
- 63. Episode 6 – TS-19
- 64. AMC’s promotional material
- 65. Comic-Con 2010 poster (cast)
- 66. Season 3 promo material
- 67. Season 3 promo material
- 68. Characters across platforms
- 69. Characters across platforms
- 70. Characters across platforms