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Serial Pinboarding in Contemporary Television

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Serial Pinboarding in Contemporary Television Serial Pinboarding in Contemporary Television Anne Ganzert Serial Pinboarding in Contemporary Television Anne Ganzert Serial Pinboarding in Contemporary Television Anne Ganzert University of Konstanz Konstanz, Germany ISBN 978-3-030-35271-4 ISBN 978-3-030-35272-1 (eBook) https://doi.org/10.1007/978-3-030-35272-1 © The Editor(s) (if applicable) and The Author(s), under exclusive licence to Springer Nature Switzerland AG 2020 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the pub- lisher nor the authors or the editors give a warranty, expressed or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institu- tional affiliations. Cover illustration: Patti McConville / Stockimo / Alamy Stock Photo This Palgrave Macmillan imprint is published by the registered company Springer Nature Switzerland AG. The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland PREFACE This book started life as a doctoral thesis written and researched at the University of Konstanz, Germany. During my dissertation in Media Studies I developed the concept of Serial Pinboarding, which is at the core of this book, aided by the input of wonderful colleagues in my department of Literature-Arts-Media and from all over the world. The idea came from a place of wonder, and a passion for TV series. Unable to explain why we as viewers intuitively seem to understand the language of large cork walls filled with pictures, pins, and crossing thread, and how these walls were involved in series and stories, I set out to find answers. My search led me from TV studies to Art Theory, to ideas about diagrams, serial storytelling, audience research, and many other fields. And over the four years of reading, watching, and writing, I collected bits and pieces from every research area I went to. Like a good pinboard, this book thus puts together seemingly unre- lated academic artifacts and generates an entirely new, interdisciplinary idea from it. It is meant for all media students, researchers from the humanities and beyond, fans and television enthusiasts, and also produc- ers, and aspires to solve your case and questions regarding the pinboards, corkboards, or blackboards, that you may have seen in any TV Show or movie too. It is my pleasure to thank those who made this book possible. Firstly, I would like to express my sincere gratitude to Beate Ochsner for her con- tinuous support and guidance. And to Jennifer Gillan, who graciously agreed to be my advisor from across the pond; Steffen Bogen for getting me interested in Diagrammatics; and to Isabell Otto, for giving me an v vi PREFACE academic home again in the ‘Media and Participation’ research unit (DFG/FOR 2252). My gratitude also goes to the Friedrich Naumann Foundation for Freedom, which awarded me with a three-year scholar- ship, and the ‘Cultural Foundations of Social Integration’ Center of Excellence at the University of Konstanz for supporting this book. I want to wholeheartedly thank my friends, for feedback, patience, fun times, input, and eager eyes looking for new cases of serial pinboarding—I am glad to have changed the way you watch TV. I am forever grateful to my parents, who have supported all my endeavors and especially this one, and a big thank you to my entire family for their ceaseless love and sup- port. And to Tobi, my love. Thank you for everything. Konstanz, Germany Anne Ganzert CONTENTS 1 Introduction 1 The Age of Pinboarding 3 Castle’s Pinboarding (A Preview) 7 Structure 10 References 14 2 Serial Pinboarding 17 TV’s Pinboards 25 Criminals, Investigators, Stalkers: Genres of Pinboarding 26 Art, Media Theory, and Seriality 28 Pinboards as Images and Media 32 Excurse to the Dispositive 38 Four Cases of Serial Pinboarding 41 FlashForward: The Mosaic Investigation Wall 41 Homeland: Carrie Mathison’s Living Room Wall 45 Heroes: Maps of the Earth and Webs of Time 51 Castle: His and Hers Murder Boards 57 Pinboarding as Serial Practice 61 Pinboarding Semiotics 63 References 69 vii viii CONTENTS 3 Pinning Evidence 79 Markers’ Pinboarding Properties 83 Faces, Time, and a ‘Baby Doll Photograph’ 88 Evidence Bags 97 References 105 4 Pinning Place and Time 107 Blueprints 114 Pinning Time 119 Pinning the Past 123 Pinning the Present 126 Pinning the Future 130 Pinning Futures 133 References 137 5 Pinning Knowledge 141 Epistemic Expectation 142 Pins 146 Threads and Gaps 155 A Pinboarding Point of View 177 Weaving Categories 178 References 183 6 Pinboarding Spin-Offs 187 Remakes and End 187 Acceptable Solutions 188 Lasers and Bullets 189 Rips and Tears 191 Cutting All Ties 193 At the End of the Rope 195 Wandering Narratives and Transmedia Pinboarding 196 Fans as Pinboarders 206 Becoming a Trope 210 References 216 7 Conclusion 223 References 229 Index 231 LIST OF FIGURES Fig. 1.1 Murder-of-the-week whiteboard, Screenshot from Castle S05E07 (ABC 2012), TC 00:16:18 8 Fig. 1.2 Kate in front of her private murder board, Screenshot from Castle S03E13 (ABC 2011), TC 00:18:31 8 Fig. 2.1 Mosaic Investigation Wall as seen in Mark’s Vision, Screenshot from FlashForward S01E01 (ABC 2009), TC 00:25:58– 00:26:56 43 Fig. 2.2 Carrie’s living room wall. Configuration (1a), Screenshot from Homeland S01E01 (Showtime 2011), TC 00:03:33 46 Fig. 2.3 Future Hiro’s time net, Screenshot from Heroes Vol01E17 (NBC 2007), TC 00:39:30f 53 Fig. 2.4 Richard’s case of ‘Who hired the sniper?’, Screenshot from Castle S04E01 (ABC 2011), TC 00:41:25 58 Fig. 3.1 The manifestation of the ‘Baby Doll Photograph’, screenshots from FlashForward S01E01 (ABC 2009), TC 00:37:13 and S01E02 (ABC 2009) TC 00:32:11, TC 00:32:10, TC 00:34:51. (top left to bottom right) 95 Fig. 4.1 Hole left by pin close to ‘New York’, Screenshot from Heroes Vol01E08 (NBC 2006), TC 00:08:57 111 Fig. 4.2 The finished color-coded time table. Configuration (2) of Carrie’s living room pin board, screenshot from Homeland S01E11 (Showtime 2011), TC 00:35:52 127 Fig. 4.3 ‘Oct 4th’ knot in Hiro’s time net, Detail from Heroes Vol1Ch20 (NBC 2006) 134 Fig. 5.1 ‘Blue Hand’ cluster on the MIW, screenshot from FlashForward S01E06 (ABC 2009), TC 00:12:16 149 ix x LIST OF FIGURES Fig. 5.2 Gabriel rearranges and Mark solves the MIW, screenshots from FlashForward S01E20 (ABC 2009), TC 00:06:58, TC 00:10:52; S01E22 (ABC 2010), TC 00:28:29–00:29:08. (top left to bottom right) 154 Fig. 5.3 Burt Macklin’s ‘pie chart’, detail from Parks and Recreation S04E21 (NBC 2012) 157 Fig. 5.4 Dyson Frost’s garden of forking paths, screenshot from FlashForward S01E17 (ABC 2010), TC 00:12:37 172 Fig. 5.5 Linchpin Spiderweb, screenshot from Castle S04E16 (ABC 2012), TC 00:18:52 176 Fig. 6.1 Mark’s makeshift investigation wall, detail from FlashForward S01E11 (ABC 2010), TC 00:15:51 200 CHAPTER 1 Introduction Big and small screen characters have long used pegboards, blackboards, and whiteboards to gather information. Movie audiences have seen heists being planned from Ronin (Frankenheimer 1998) to Ocean’s Eleven (Soderbergh 2001) to The Wedding Ringer (Garelick 2015). They have put together the pinboard clues at the end of The Usual Suspects (Singer 1996) and learned to read the temporal clues on the Polaroid-filled wall in Memento (Nolan 2000). And (by now) they know that some walls with newspaper clippings, scribbled notes, and crisscrossing thread hint toward the genius of A Beautiful Mind (Howard 2001) or Temple Grandin (Jackson 2010), while others externalize a Conspiracy Theory (Donner 1997) or the obsessions of One Hour Photo clerk Seymour “Sy” Parrish (Romanek 2002). With the upswing in police procedural1 television viewers have seen countless investigative teams employ pinboards as means of communica- tion and deduction. Various versions can be found in shows from many other genres, too, from The X-Files (Carter 1997–2003) to Buffy the Vampire Slayer (Whedon 1997–2003) to Pretty Little Liars (King 2010–2017). However, in some shows, the pinboards’ applications go beyond just a prop or storytelling device when they co-facilitate serial structures. They can establish an aesthetic or semiotic system,2 function as a guide through temporal confusion, and are a central element of a show’s © The Author(s) 2020 1 A. Ganzert, Serial Pinboarding in Contemporary Television, https://doi.org/10.1007/978-3-030-35272-1_1 2 A. GANZERT diegesis. All of these unique functions and features inspired this book, which has the goal to investigate the co-constitutive relation of pinboards and televisual seriality.
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