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The Knick: Analýza Televíznej Formy

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The Knick: Analýza Televíznej Formy Univerzita Palackého v Olomouci Filozofická fakulta Bakalářská práce The Knick: Analýza televíznej formy Dominika Moravčíková Katedra divadelních a filmových studií Vedoucí práce: Mgr. Jakub Korda, Ph.D. Studijní program: filmová věda /muzikologie Olomouc 2016 Prehlasujem, že túto bakalársku prácu som vypracovala samostatne s využitím prameňov a literatúry, ktorých zoznam prikladám na konci práce. 20.4.2016 podpis Poďakovanie Ďakujem za podporu svojim rodičom a sestre. Za cenné rady patrí veľká vďaka vedúcemu práce Mgr. Jakubovi Kordovi, Ph.D. V neposlednom rade ďakujem Katedre divadelních a filmových studií, ktorej pedagógovia mi poskytli neoceniteľné inšpiračné zdroje. OBSAH 1. Úvod ........................................................................................................................5 2. Teoreticko-metodologická časť ...............................................................................9 2.1. Metodologická literatúra ......................................................................................9 2.2. Terminológia .....................................................................................................13 3.2. Literatúra o The Knick .......................................................................................18 3. Ekonomicko-historické hľadisko ..........................................................................21 3.1. Produkčné pozadie a dej série ............................................................................21 3.2. Branding .............................................................................................................25 3.2.1. Porovnanie brandovej identity HBO a Cinemax ............................................25 3.2.2. The Knick ako značka .....................................................................................27 3.2.2.1. Trailery ........................................................................................................27 3.2.2.2. Postery ..........................................................................................................28 3.2.2.3. Facebook, Twitter a Tumblr .........................................................................30 4.1. Ozvláštnenie ......................................................................................................33 4.1.1. Variácia detailu a paralelizmus .......................................................................33 4.2. Naratívne módy .................................................................................................43 4.2.1. Klasické rozprávanie ......................................................................................43 4.2.2. Art cinema rozprávanie ...................................................................................46 4.2.3. Parametrické rozprávanie ...............................................................................51 4.3. Zvuk ...................................................................................................................53 4. 4. Žáner .................................................................................................................59 4.4.1. Lekárska dráma ...............................................................................................59 4.4.1.1. Tri úrovne žánru ...........................................................................................59 4.4.1.2. Telo v rozpade, telo v extáze, femininity a maskulinity .............................62 4.4.1.3. Hra na Boha a desakralizácia ako prízrak modernity .................................72 4.4.2 Quality TV ......................................................................................................76 5. Záver .....................................................................................................................83 1. Úvod V názve bakalárskej práce sa okrem názvu samotného televízneho titulu nachádzajú dva ambiciózne, ale do istej miery záhadné pojmy. Preto úplne prvou úlohou, ktorej sa v tomto priestore zhostím, bude pokus o ich osvetlenie. Pojem analýza vo sfére umenia významovo prepojený s pojmom interpretácia, pričom by nemalo ísť o akt ľubovoľný, ale akt realizovaný z ustálených a precízne zvolených hľadísk. Televízna forma je pojem viac špecifický, a o to väčší priestor pre vysvetlenie vyžaduje. Za televíznu formu považujem predovšetkým text, respektíve textuálne súvzťažnosti. Podľa Davida Bordwella a Kristin Thompson, filmová respektíve televízna forma je to, čo robí audiovizuálne dielo niečím viac než neusporiadanou skupinou prvkov, a teda tvorí systém vzťahov, ktorý sa dá medzi jednotlivými prvkami objaviť. 1 Veľkou ambíciou tejto práce bude teda pomenovanie týchto vzťahov v takom poňatí analýzy, ktoré je podložené axiomatickým súhrnom z filmovo-teoretických a televízne-teoretických prístupov preferujúcich formalistické nazeranie na audiovizuálne umelecké dielo. Ťažisko analýzy bude ležať takmer výhradne na interpretovaní organizácie textu o sebe. Ďalej sa nazdávam, že k televíznej forme patrí i to, ako sa táto forma javí z hľadiska budovania televíznej značky, a tento celok môže byť pomenovaný a interpretovaný použitím formalistických, neoformalistických a ich tradíciou ovplyvnených televízne- teoretických metód. Odklon od tomto predpokladu nastane v kapitole venovanej žánru lekárskej drámy (hospital drama), kde budú zapojené širšie kontextuálne hľadiská. Dôsledky naratívnej analýzy budú čiastočne predstavovať podklad pre analýzu žánru, ktorá bude realizovaná dialógom s teoretickými východiskami štandardnej žánrovej a metažánrovej paradigmy. Televízna séria The Knick 2 tak nebude porovnávaná s inými seriálmi, nakoľko jej inakosť v rôznych ohľadoch by učinila takýto pokus 1 BORDWELL, David, THOMPSON, Kristin. Umění filmu. Akademie múzických umění v Praze, 2011. s. 86 2 Používam termín séria a nie seriál, nakoľko práca sa zaoberá prvou sériou The Knick nezávisle na prípadných pokračovaniach, ktorú zároveň chápem ako uzavreté a samostatné dielo. .5 zd/hav&m a pre cie) práce neprínosn&m. Namiesto toho budem vo svojej anal&ze pátra+ po tom, ako sa ethos lekárskeho $ánru prejavuje v tejto sérii, a v neposlednom rade bude zoh)adnená i mo$ná sféra reprezentácií, respektíve pôjde o vyh)adávanie a zva$ovanie ur"itej symptomatickej v&znamovej roviny. Toto vyh)adávanie bude ma+ v*ak skôr periférnu relevanciu v optike, ktorou budem formálne rie*enie série pozorova+, a v&sledky takejto *pekulatívnej anal&zy mô$u by+ vzápätí spochybnené obratom do v&chodiskového historicko-ekonomického a formalistického nazerania na sériu. Menej vy"erpávajúca interpretácia venovaná prítomnosti fenoménu quality TV "oby meta$ánru a dôle$itému faktoru pre idiosynkratick& charakter série bude navrátená do viac menej formalistického teoretického diskurzu, vá$iaceho naratívne a *t&lové *pecifiká nad v&znamov&mi. Moje h)adisko teda bude v zásade esteticky-imanentné. Na tomto mieste sa natíska otázka, "o znamená estetické, v*eobecne a *peciálne vo sfére televízneho média. David Thorburn popisuje televíznu estetiku takto: „Termín nenaznačuje hodnotenie estetických objektov, ale označenie ich hlavnej definujúcej črty – ich členstvo v triede kultúrnych skúseností chápaných ako fiktívnych alebo imaginárnych, chápaných ako nachádzajúcich sa v symbolickom, kultúrne odsúhlasenom imaginatívnom priestore.“ 3 Táto imanencia v*ak existuje iba na ur"itej úrovni. Ako si uvedomuje i Thorburn, text o sebe sotva mô$e by+ komunikovan& bez povedomia o ekonomick&ch a kultúrnych silách, ktoré ho formujú, ako i o evolúcii rozprávania a tvorenia m&tov, za"ínajúcej v západn&ch dejinách minimálne v "asoch Homéra. 4 Pod)a tradície dekon*trukcie Jacquea Derridu je u$ text a kontext nielen jedn&m, 3 THORBURN, David. Television as an Aesthetic Medium. In: Critical Studies in Mass Communication. 1987. roč. 4, č. 2. s. 162 4 To isté, s. 167 .6 ale i všetkým, teda obsahuje „ekonomické, historické, socio-inštitucionálne, skrátka všetky možné referencie.“ 5 Napätie medzi t&mito dvoma pólmi stanoviska vo"i textu a interpretatívnemu "i latentnému kontextu bude v práci vyrie*ené umo$nením oboch perspektív tam, kde sú na vhodné pod)a metodologickej tradície- na jednej strane stojí anal&za umeleckej formy o sebe, na druhej anal&za televízneho $ánru. Autorské a biografické h)adisko budú v práci prakticky vynechané z dôvodov ich malej záva$nosti v k)ú"ov&ch analytick&ch prístupoch, obmedzeného rozsahu práce ako i mojich v&konnostn&ch kapacít. Nie je v*ak vylú"ené, $e The Knick ponúka v'a"n& priestor pre anal&zu z h)adiska autorskej teórie, hoci mo$no skôr v práci s in&m formátom a zadaním. Mojou prioritou v*ak ostáva anal&za formy, "o z pozície formalizmu znamená formy i obsahu, *t&lu i rozprávania, a napokon ekonomického pozadia, mo$no stojaceho za rie*eniami, ktoré mô$u by+ pova$ované za potenciálne autorské "i potenciálne spolo"ensky-symptomatické. Na tomto mieste e*te zapájam dve poznámky. Po prvé, pre nedostatok existujúcej alebo dostupnej relevantnej literatúry o samotnej sérii bude práca vychádza+ predov*etk&m z literatúry metodologickej. Korpus literatúry o sérii The Knick bude tvoren& "esk&mi a zahrani"n&mi recenziami a "lánkami v online formáte. Po druhé, v*etky citácie priamo v texte, pokia) je ich zdrojom anglick& alebo "esk& text, budú prelo$ené do sloven"iny, pri"om pokia) nie je uvedené inak, ako autorka práce som i autorkou prekladu. Taktie$ dôjde k prekladu mnoh&ch teoretick&ch termínov, ktoré sa v práci objavia. U t&ch, u ktor&ch to pova$ujem za záva$né, prikladám ich originálne znenie v zátvorkách,
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