The Norwegian series SKAM is one of the most interesting products of contemporary television, as a match between the structure of transmedia storytelling and the established tv genre of the teen-drama. In 2018 SKAM became an international success.The series is firstly published in real time, in the form of short clips on the dedicated website, and it is later assembled on television or on the streaming platform in weekly episodes. This format has trascended the borders between screens and between states as no other product before. If the transmedial structure of SKAM perfectly fits a media consumption practice linked to the briefness of contents shared on social media, the intrinsic power of this format allowed the original series to find a huge following in many countries thanks to appropriation experiences like fan subbing or fan art. The temporality of the series' fruition is integrated in the daily routine of the viewers, thus cementing the parasocial bonds with the characters.

Beyond screens, beyond borders. Il caso SKAM = Beyond screens, beyond borders. SKAM, a case study

Giuliana C. Galvagno
2020-01-01

Abstract

The Norwegian series SKAM is one of the most interesting products of contemporary television, as a match between the structure of transmedia storytelling and the established tv genre of the teen-drama. In 2018 SKAM became an international success.The series is firstly published in real time, in the form of short clips on the dedicated website, and it is later assembled on television or on the streaming platform in weekly episodes. This format has trascended the borders between screens and between states as no other product before. If the transmedial structure of SKAM perfectly fits a media consumption practice linked to the briefness of contents shared on social media, the intrinsic power of this format allowed the original series to find a huge following in many countries thanks to appropriation experiences like fan subbing or fan art. The temporality of the series' fruition is integrated in the daily routine of the viewers, thus cementing the parasocial bonds with the characters.
2020
16
125
135
screens; transmedia storytelling; television; seriality
Giuliana C. Galvagno
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/2318/1901434
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