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Finals Sense Fi. Estudi De La Construcció Serial a 24, Prison Break I

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Finals Sense Fi. Estudi De La Construcció Serial a 24, Prison Break I Finals sense fi. Estudi de la construcció serial a 24 , Prison Break i Heroes. Manel Jiménez Morales Departament de Comunicació Universitat Pompeu Fabra 2010 DIRECTOR: Dr. Xavier Pérez Torío Resum L’objectiu d’aquesta tesi pretén analitzar una paradoxa narrativa: com construir un relat serial, i per tant potencialment infinit, sota la pressió d’un final apocalíptic. La presència d’aquesta cloenda amenaçadora hauria d’impossiblitar la capacitat de la narració per desenvolupar-se successivament sine dia ; en canvi, aquesta relació de conflictivitat es demostra solvent i absolutament necessària en un conjunt de produccions televisives nordamericanes, que tenen com a rerefons l’esperit paranoic evocat pels atemptats de l’11 de setembre. A aquests afectes, la present recerca aborda l’estudi dels components narratius i estètics en la construcció serial de les ficcions televisives 24 (Fox, 2001, Robert Cochran i Joel Surnow), Prison Break (Fox, 2005, Paul Scheuring) i Heroes (NBC, 2006, Tim Kring). El text es divideix en tres parts que corresponen essencialment a tres conceptes; tres substantius que acullen, des de la seva accepció més amplia, les característiques que, per a nosaltres, defineixen la construcció serial d’aquestes produccions. Destaquem en primer lloc el concepte de Saturació per definir aquells elements que constitueixen la complexitat narrativa pròpia d’aquestes sèries. Des d’aquesta premissa s’analitza la contribució mútua dels gèneres narratius, la seva hibridació i la proliferació de les trames. El segon apartat, Fragmentació , parteix també d'un problema derivat de la cronologia contrarrellotge que presenten les sèries. L’expansió de les trames i la cursa contrarrellotge, així com altres aspectes de caràcter temàtic, obliguen a un sentit de fractura constant, ja sigui merament estructural, ja sigui metafòrica o literal en els continguts del relat. Finalment, la cursa contrarellotge obliga al fet que tota la narració es visqui amb un caràcter de Simultaneïtat . Això suposa utilitzar tota una sèrie de recursos tecnològics per explicar la intercomunicació entre els personatges i les trames, com a prolongació de la mirada espia. Saturació, fragmentació i simultaneïtat seran tres vectors que ajudaran a comprendre el caràcter postmodern d’aquestes sèries. Abstract The aim of this PhD dissertation is to analyze a narrative paradox: how to deal with a drama series story – which should be allegedly a potential infinite tale – when this drama is pressured by an apocalyptic end. The presence of this finale should avoid this ability to defer the story sine dia ; nonetheless, that controversial relationship seems to be reliable and absolutely needed in some North American production series, that have as a background the paranoic feeling recalled by the September 11 attacks. To this goal, this research studies the narrative and aesthetic elements which contribute to the serial construction of the following television dramas: 24 (Fox, 2001, Robert Cochran and Joel Surnow), Prison Break (Fox, 2005, Paul Scheuring) and Heroes (NBC, 2006, Tim Kring). This text is divided in three chapters, which concern to three concepts; these three items integrate the main features of the drama series architecture in their wider meaning. Firstly we would like to stress the concept Saturation to define the elements that set up narrative complexity in these series. From this point of view, we analyze the mutual contribution of the television drama series, their hybridisation and their growing plots. The second section, Fragmentation , also begins with the out of time chronology, typical from these series. The spreading plot and the fight against the clock – also other subject issues - lead the stories to a constant fracture, in a structural meaning, but also in metaphorical or literal ones. Finally, the race against the clock makes the story dependent on a certain Simultaneity. That implies to use all sort of technological resources to explain the communication between characters and plots, as an extension of a spying eye. Saturation, Fragmentation and Simultaneity will be three factors that will help to understand the postmodern behavior of the new television dramas. Agraïments Al director d’aquesta tesi, el doctor Xavier Pérez, per la seva inesgotable paciència, per la generositat del seu temps, els seus consells i els seus coneixements. Per ser incombustible en els seus ànims i motor en aquesta recerca. Als companys, col·legues i, en realitat, amics del Departament de Comunicació de la Universitat Pompeu Fabra. Sé que cada conversa, en aparença intrascendent o anecdòtica, ha esdevingut rellevant per fer madurar aquesta tesi. I tinc la seguretat que han estat i seguiran sent uns companys de viatge molt valuosos en el decurs de la meva carrera professional. En especial, a aquells que formen part dels grups CINEMA i UNICA, i de l’equip de recerca del doctor Carlos Scolari. Guardo el seu intercanvi d’idees com quelcom realment preuat. Voldria també agrair el suport incondicional que han mostrat cap a mi el degà de la Facultat de Comunicació, el doctor Josep Maria Casasús, i el director del Departament, el doctor Miquel Rodrigo. A ells dec la possibilitat d’haver realitzat aquest treball. I, així mateix, m’agradaria expressar el meu agraïment als professors que van donar-me suport a les meves estades de recerca, en especial, al doctor Christopher Butler, del Christ Curch College de la Universitat d’Oxford, i al doctor John T. Caldwell i al professor Ben Harris, de la Universitat de Califòrnia Los Angeles (UCLA). Aquesta investigació també ha estat possible per l’ajuda de les secretaries del Departament de Comunicació i dels Estudis de Comunicació Audiovisual de la UPF. Els agraeixo la comprensió, l’efectivitat i el seu assessorament absolutament indispensable en el context burocràtic. Voldria explicitar, concretament, el meu agraïment a la Margarida Codinachs, la Carme Lloret, la Montse Palau, la Rosa Pardo, la Dolors Ruiz, la Jana Safrankova, la Mercè Sulé i l’Esther de la Varga. Per la feina, però, sobretot, per l’amistat. I, per suposat, el més important, a aquells que han convertit la meva feina a la Universitat en un premi renovat dia a dia: Fran Benavente, Núria Bou, Aurora Corominas, Santiago Fillol, Domènec Font, Manuel Garín, Lluís Maria Güell, Gemma López, Montse Martí, Aitor Martos, Sergi Moreno, Mercè Oliva, Óliver Pérez, Ivan Pintor, Alan Salvadó, Glòria Salvadó i Sergi Schaaff. Gràcies a tots pel privilegi de la seva complicitat i, de nou, per la gratificació de la seva amistat. A la doctora Fabiola Alcalà, a en Marcel Mauri i al doctor Carles Pons. Pel seu inestimable ajut. I a la Diana Corominas, a la Mònica Gozalbo, a la Sasa Markus i a l’Anna Petrus, per molts i inesgotables motius. Finalment, voldria agrair en general l’ajut, el suport i els ànims dels que estan sigilosament, però sempre, al meu costat. Els meus amics aliens al món universitari i la meva família. En especial voldria donar les gràcies a les meves germanes, la Mònika i la Meritxell. El meu camí està fet per les seves petjades. I a la meva mare, per tot; per la seva heroïcitat quasi de serial i la seva lluita sense fi . … A Jack Bauer. Per ensenyar-me que sempre queda un as sota la màniga i que un segon pot ser una eternitat. ÍNDEX 0. INTRODUCCIÓ 17 1. SATURACIÓ 25 1.1. La conquesta de l’inabastable 25 1.2. El funcionament del to be continued 30 1.3. Concentració de conflictes. L'herència del model 38 fulletonesc 1.3.a. Conflictes ocasionats per lògica causal 55 1.3.b. Conflictes ocasionats pel trencament de la lògica causal 65 1.3.b.1. L’a tzar pur 70 1.3.b.2. La força conspiratòria 83 1.4. Nuclis d’acció i abismes narratius 88 1.4.1.1. Situacions d’acceleració del risc 90 1.4.1.1.A. Situacions vitals 91 a) Perill de l’heroi davant la mort 91 b) Perill de l’amic o l’amant davant la mort 91 c) L’ acció s’aproxima al deadline 92 12 d) Proximitat de les forces antagòniques 93 e) Separació de camins 93 1.4.1.1.B. Situacions informacionals 94 1.4.1.2. Situacions de desacceleració, mise en abime o impacte aturador 95 1.4.1.2.A. Situacions vitals 95 a) Final de la trama d’un personatge 95 b) Mort d’un personatge 96 1.4.1.2.B. Situacions informacionals 99 a) Complicació en la missió amb aparent bloqueig 99 b) Revelació de secret o descobriment d’un secret 100 c) Pèrdua de les pistes 105 2. FRAGMENTACIÓ 107 2.1. El funcionament del to be discontinued . Estructures fractals 107 2.2. Plaers de la deriva. El viatge espaciotemporal com 127 a procés hermenèutic 2.3. Estructuració i desestructuració dels espais 154 2.4. Laberints físics (i laberints sentimentals) 166 2.5. El trauma com a fragmentador de la memòria 181 2.6. Temps deformes 200 13 2.7. Fragmentacions del cos: mutilació, mutació i desfiguració 204 2.8. Tortura, fragmentació identitària i epistemologia de la desconfiança 222 2.9. Autoimmunitats i pactes 229 2.10. Amenaces corporals i invasions víriques 240 3. SIMULTANEÏTAT 246 3.1. Telepresència i televigilància. Geografies en crisi 246 3.2. L’allargament de la mirada 267 3.3. La imatge polifònica 280 3.4. Escenes fonamentals 304 3.5. Assaltant la ment. Del control del temps i l’espai, al control mental 321 3.6. La tècnica al servei del control 332 3.7. Màquines de mirar 342 3.8. Tecnotemporalitat. Flashback i rewind 356 3.9. La mirada espia 365 3.9.1. La càmera que oculta: el fora de camp, la interposició d'elements en primer terme i el 365 clarobscur 3.9.1.1. La relativitat del dins i el fora 373 3.8.1.
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