Stories are perceived as central to modern life. Not THE KEY DEBATES 7 only in narrative entertainment media, such as THE KEY DEBATES television, cinema, theater, but also in social Mutations and Appropriations in media. Telling/having “a story” is widely deemed essential, in business as well as in social life. Does European Film Studies this mark an intensifi cation of what has always been part of human cultures; or has the realm of The Key Debates is a fi lm series “story” expanded to dominate twenty-fi rst century from Amsterdam University discourse? Addressing stories is an obvious priority Press. The series’ ambition for the Key Debates series, and Volume 7, edited is to uncover the processes by Ian Christie and Annie van den Oever, identifi es of appropriation and diffusion new phenomena in this fi eld – complex narration, of key concepts that have puzzle fi lms, transmedia storytelling – as well as shaped Film Studies. The new approaches to understanding these, within series editors are: Ian Christie, narratology and bio-cultural studies. Chapters Dominique Chateau, José Moure STORIES on such extended television series as Twin Peaks, and Annie van den Oever. Game of Thrones and Dickensian explore distinctively new forms of screen storytelling in European Film Studies Mutations and Appropriations in the digital age. Contributions by: THE KEY DEBATES Vincent Amiel “ There are very few book series that fully keep to what they Jan Baetens promised, as the ‘Key Debates’ does. An incredible effort Dominique Chateau in critically covering wide regions of our fi eld – with their Ian Christie traditional assets and their sudden innovations. Visual John Ellis storytelling poses puzzling questions: the seventh volume Miklós Kiss STORIES of the series tries to answer them.” Eric de Kuyper – Francesco Casetti, Yale University Sandra Laugier Luke McKernan “ Rather than explaining our previous accounts of story- José Moure Annie van den Oever (eds.) Ian Christie and telling and story-viewing, this exciting collection opens up Roger Odin the fi eld to important new questions about complex, large, Annie van den Oever and transmedia narratives. It is a valuable contribution Melanie Schiller Ian Christie and 7 to research on how and why we engage with stories.” Steven Willemsen Annie van den Oever (eds.) – Janet Staiger, University of Texas Robert Ziegler “ An indispensable collection of essays exploring the complexities of storytelling in today’s multi-faceted media ISBN 978-94-6298-584-1 environment. This volume constitutes another important contribution to ongoing debates in Film and Media Studies provided by a remarkable book series.” – Frank Kessler, Utrecht University Amsterdam AUP.nl University Press Stories The Key Debates Mutations and Appropriations in European Film Studies Series Editors Ian Christie, Dominique Chateau, José Moure, Annie van den Oever Stories Screen Narrative in the Digital Era Edited by Ian Christie and Annie van den Oever Amsterdam University Press The publication of this book is made possible by generous grants from the Research Institute ACTE – Paris 1, Panthéon Sorbonne, and the Nicolaas Mulerius Foundation of the University of Groningen. Cover illustration: Twin Peaks Season 3: an uncanny audiovisual product that challenges every storytelling convention we know. Cover design: Sabine Mannel Lay-out: Crius Group, Hulshout Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. isbn 978 94 6298 584 1 e-isbn 978 90 4853 708 2 doi 10.5117/9789462985841 nur 670 Creative Commons License CC BY NC ND (http://creativecommons.org/licenses/by-nc-nd/3.0) I. Christie, A. van den Oever / Amsterdam University Press B.V., Amsterdam 2018 Some rights reserved. Without limiting the rights under copyright reserved above, any part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise). Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher. Contents Editorial 7 Acknowledgments 9 1. Screen Narrative in the Digital Era 11 Ian Christie and Annie van den Oever Part I – Theory in Contemporary Contexts Reassessing Key Questions 2. Stories and Storytelling in the Era of Graphic Narrative 27 Jan Baetens 3. Rediscovering Iconographic Storytelling 45 Vincent Amiel 4. Wallowing in Dissonance: The Attractiveness of Impossible Puzzle Films 55 Miklós Kiss and Steven Willemsen 5. “Storification” : Or, What Do We Want Psychology and Physiology to Tell Us about Screen Stories? 85 Ian Christie 6. Transmedia Storytelling: New Practices and Audiences 97 Melanie Schiller Part II – History and Analyses 7. The Endless Endings of Michelangelo Antonioni’s Films 111 José Moure 8. The Film That Dreams: About David Lynch’s Twin Peaks Season 3 119 Dominique Chateau 9. Spoilers, Twists, and Dragons: Popular Narrative after Game of Thrones 143 Sandra Laugier Part III – Discussions 10. Storytelling and Mainstream Television Today – A Dialogue 155 John Ellis and Annie van den Oever 11. The Single Shot , Narration, and Creativity in the Space of Everyday Communication 167 Roger Odin Part IV – P racticalities 12. Rewriting Proust: Working with Chantal Akerman on La captive– A Dialogue 175 Eric de Kuyper and Annie van den Oever 13. Introduction to Dickensian: An Intertextual Universe? 181 Ian Christie 14. The Lives of the Characters in Dickensian 183 Luke McKernan 15. Music Structuring Narrative – A Dialogue 193 Robert Ziegler and Ian Christie Notes on Contributors 199 Index of Names 203 Index of Film Titles 207 Editorial The original aim of the Key Debates series was to revisit the concepts, and indeed controversies, that have shaped the field of film studies. Our intention was twofold: to clarify what was initially at stake in the founding texts, and to shed light on lines of transmission and reinterpretation in what remains a hybrid field of study, which has “appropriated” and thus modified much of what it uses. The six volumes published to date take different approaches to this central mission, reviewing how early film theory adopted and developed literary theories of “strangeness” (ostrannennie); shifting concepts of subjectivity engendered by film; the variety of ways in which film audiences have been conceived; the persistence of debate around film as a technology; the newly energized debate regarding feminist approaches to film and television; and an up-to-date discussion of display technologies and screen use in the digital era. We are delighted to announce that the coeditor of the volume on Screens, José Moure, has become a Key Debates series editor from Volume 7 onward. When we launched this book series in 2010, after a phase of preparation which began in 2006, we felt that as scholarship in the history of film theory developed, there was a need to revisit many long-standing assumptions, particularly in light of the changes in media devices and viewing practices. Further volumes are now in preparation, as we recognize that pervasive digital media have not made the concepts and debates to which film initially gave rise, redundant. On the contrary, there seems to be a greater need than ever to clarify and refocus fundamental issues, such as stories and storytelling in the present volume, in the context of our contemporary media environment. London / Paris / Amsterdam / Groningen Ian Christie, Dominique Chateau, José Moure, Annie van den Oever Acknowledgments Stories is not a book that is organized around a single thesis – apart from the assertion that stories are a major concern for film and media scholars, whether approached in terms of philosophy, aesthetics, narrative theory, cognitive studies, transmedia storytelling and convergence theory, complex narration, historical poetics, metahermeneutics, or the industry’s or the practitioner’s perspective on storytelling. Throughout this book, there is an emphasis on critical concepts, methods, and debates. Stories deliberately includes contributions by film and media experts working in very different ways on a wide range of storytelling-related issues, and it does so in the spirit of the series, The Key Debates, in which it marks the start of a third phase of unique transnational cooperation, centrally between the Netherlands, France, and the UK. The series has already supported a number of stimu- lating symposia and workshops in all three countries, and produced six collections, Ostrannenie (2010), Subjectivity (2011), Audiences (2012), Technē/ Technology (2014), Feminisms (2015), and Screens (2016). The series, like this particular book, owes much to Dominique Chateau and José Moure and the ongoing discussions between the series editors of the topics debated in this series. One of the real challenges of this project has been bringing together an international group of scholars from a variety of countries, who speak different languages and come from different cultural and (inter)disciplinary backgrounds. Once again, the real pleasure was seeing all the different inputs coming together, challenging and occasionally contradicting one another, yet eventually achieving a sense of coherence. Therefore, we wish to express our sincere gratitude to the contributors to this book and to the members of the Editorial Board for their enthusiastic support and generous