Indhold Getting LOST

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Indhold Getting LOST Indhold Getting LOST ...................................................................................................................................................... 3 Fremgangsmåde og afgrænsningsfelt ............................................................................................................... 4 Beskrivelse af serien .......................................................................................................................................... 5 Føljetonformatet ............................................................................................................................................... 6 Episodernes opbygning og seriens plots ....................................................................................................... 7 Karaktererne .................................................................................................................................................. 8 Jacks plotlinje ................................................................................................................................................. 9 White Rabbit’s konstruktion og karakterfremstilling .................................................................................. 10 316’s konstruktion og karakterfremstilling ................................................................................................. 15 En strukturalistisk analyse af karakterens konstruktion ............................................................................. 19 Psychologial traits/habitual behaviour .................................................................................................... 19 Physical characteristics/appearance ....................................................................................................... 19 Speech patterns ....................................................................................................................................... 20 Interactions with other characters .......................................................................................................... 20 Environment ............................................................................................................................................ 21 Biography ................................................................................................................................................. 21 Den narrative struktur ..................................................................................................................................... 22 Konklusion ....................................................................................................................................................... 25 Litteraturliste ................................................................................................................................................... 26 Bøger ........................................................................................................................................................... 26 Web-adresser .............................................................................................................................................. 26 Bilag 1 – Resumé af serien ............................................................................................................................... 27 Sæson 1 ....................................................................................................................................................... 27 Sæson 2 ....................................................................................................................................................... 27 Sæson 3 ....................................................................................................................................................... 28 Sæson 4 ....................................................................................................................................................... 29 Sæson 5 ....................................................................................................................................................... 29 Bilag 2 – Oversigt over de enkelte afsnits bærende karakter ......................................................................... 31 Bilag 3 – Plotsegmentering og transskribering ................................................................................................ 34 White Rabbit 1x05 ....................................................................................................................................... 34 1 316 5x06 ...................................................................................................................................................... 41 Bilag 4 – Jacks flashback-story ......................................................................................................................... 49 2 Getting LOST Et fly havarerer på en mystisk tropeø flere tusinde kilometer ude af kurs. Der er 48 overlevende1 – de fleste uden en skramme. Seks dage efter katastrofen venter passagererne fra Oceanic Flight 815 stadig på hjælp – og som tiden går, svinder håbet langsomt bort. Da tv-serien LOST havde premiere på amerikansk tv i september 2004, var der i høj grad lagt op til en klassisk robinsonade. I håbet om at videreføre reality-showet Survivor’s succes til tv-drama opstod idéen da også til serien. Det viste sig dog hurtigt, at denne form for fortælling ikke havde nok (nyt) i sig til at strække sig over flere sæsoner, og genren blev derfor krydret med lidt spænding og mystik. Som medforfatter Damon Lindelhof har forklaret det:”To execute this show, it’s going to have to be weird. There’s going to have to be something moving the trees at the end of the first act. There are going to be questions about how the plane crashed. And there are going to be fantastic things that happen to the people.” (Pearson, 2009: 12). Det viste sig altså, at der nærmere var tale om et slags genre-mix - en hybrid hvor Survivor møder Lord of the Flies, som igen møder X-files – og kimen til en fortælling, der kunne rumme langt flere muligheder, var lagt. Med tiden er der da også sket meget både i og med serien. Hvor den i starten f.eks. mest syntes at koncentrere sig om robinsonadedramaet med et par indbyggede thrillerelementer, har den efterhånden bevæget sig længere over mod horror- og science fiction-genren. Skiftet er selvfølgelig sket gradvist, men blev dog endegyldigt i slutningen af 4. sæson; her drejer en af karaktererne nemlig på et underjordisk tandhjul, hvilket resulterer i, at hele øen flytter sig! Sæson 5 fortsætter derefter, hvor den forrige slap; på grund af den mærkværdige hændelse kan øen nemlig nu ikke finde ud af, hvor den skal placere sig og bevæger sig derfor konstant gennem tid og sted, inden den til sidst falder til ro - i 1977. Som seer synes jeg, at denne udvikling er temmelig syret! Ganske vist har serien altid været kendt for at være mystisk, for mystisk vil mange måske endda mene – den i hvert fald ofte blevet mistænkt for ikke at vide, hvor den fortællermæssigt er på vej hen (Pearson, 2009: 159ff). Men er dette sandt; er man som seer helt fortabt i LOST eller findes der en mening med galskaben - kan man udrede ”søforklaringerne”? Er strukturen og den vildledning, den medfører, et bevis på det første eller et tegn på det sidste? Hvorfor oplever seerne serien, som de gør? Netop dette, synes jeg, kunne være interessant at se nærmere på. Jeg vil i denne opgave derfor undersøge, hvordan LOST er konstrueret; hvad karakteriserer serien i form af dens format – har den udviklet sig, og hvilken indflydelse kan en ændring eventuelt siges at have haft på seernes perception? I forbindelse med dette vil jeg ligeledes se nærmere på karaktererne og hvordan disse bidrager til fortællingen. Dernæst vil jeg foretage en analyse af seriens narrative struktur. Dette gøres med henblik på at undersøge, hvordan serien fortæller sin historie, og hvilken betydning dette kan have for seernes oplevelse. 1 Det viser sig dog senere, at der faktisk er hele 71 overlevende spredt ud over øen 3 Fremgangsmåde og afgrænsningsfelt Til at finde svar på min problemformulering har jeg valgt at benytte mig teoretisk af Gunhild Agger og Peter Harms Larsen, der begge har formuleret sig omkring føljetonformatet. I forbindelse med dette vil jeg ligeledes inddrage de kognitivt inspirerede herrer, Murray Smith og David Bordwell, der begge har teoretiseret om, hvad der skal til, for at seerne engageres i karaktererne. Derefter vil jeg anvende den formalistiske tilgang til at foretage en strukturalistisk analyse af protagonisten Jack. Dette gøres med henblik på at illustrere, hvordan karakterens træk på særlig vis knytter sig til den overgribende seriebue, og således kan kaste lys over seriens mysterier. I denne forbindelse vil jeg ligeledes inddrage Roberta Pearson der, ud over at have videreudviklet Bordwells teori til bedre at kunne omfatte tv-serier, også har lavet en tilsvarende analyse, jeg vil sammenligne mine egne resultater med. Når det kommer til analysen af seriens narrative struktur, trækker jeg ligeledes på Bordwell og hans konstruktivistiske, neoformalistiske begrebsapparat. Ved brug af dette vil jeg altså forsøge at finde hoved og hale i historien ved at kortlægge seriens forskellige (narrative) virkemidler, og derpå give en samlet vurdering af, hvilken betydning disse har for seernes oplevelse. Sidstnævnte gøres på baggrund af, at Bordwell som nævnt tillige
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