Narrative Complexity in Television

Eng 576: Complexity in Contemporary Narrative

 

 “Narrative Complexity in Contemporary American Television.”  Jason Mittell (2006) 29-40

 

 Jason Mittell states, “Television Narrative complexity is predicated on specific facets of storytelling that seem uniquely suited to the series structure that sets television apart from film and distinguish it from conventional modes of episodic and serial form” (29). 

In other words, it is important to separate the conventional forms of storytelling from the complex in changing viewers and critics perceptions of television’s legitmacy as a medium and its appeal to creators and writers.

 

Examples of Distinction:

• Long-term story telling vs. stand alone episodes
• Rejects the need for plot closure within every episode
• Interweaving story lines that often collide and coincide
• References to media or life outside of TV world
• Voice-over narration, often breaking the fourth wall  
• Retelling same story from multiple perspectives (“Rashomon effect”)
• Writers must offer something that is unique to television

 

TV Complexity’s Effects on Viewers:

• Using the new technologies of home recording like DVR and DVD, viewers have taken an active role in consuming narratively complex TV and helping it thrive.
• Audiences tend to embrace the complexity in much more passionate and committed terms than most conventional TV.
• le.  The profilication of channels have routinize repeats, so that viewers can catch up on a program in chronologically aired reruns or view missed premiun cable shows multiple times throughout the week.  They are also allowed to watch programs when they want and can rewatch it sort out complex moments.
• Steve Johnson’s “Cognitive workout” that encourages audiences to become more actively engaged, increasing problem-solving and observational skills.
• Media references encourages audience to be aware of what is happening in the world.
• Videogames, blogs, and fan websites have offered realms that enable viewers to participate beyond the one-flow of traditional TV.
• Sconce’s “Metareflexive” idea where audiences watch complex program to marvel and appreciate how they can push the boundaries of complexity through specific themes or patterns that can distinguish itself from the rest.
• Viewers build up their comprehension skills through long-term, active engagement despite being temporarily confused.
• le.  Video games are predicated on our ability to learn how to understand and interact with a range of storyworlds and interfaces.

 

Examples of Narrative Complex TV:

• Six Feet Under- Operates on the unique theme of showing a different death at the beginning of every episode.
• X-Files- Balances between episodic and serial modes.
• Heroes & Lost- Interweaves story lines between different characters (Flashback to the airport in Lost) as well as do not give the viewers closure at the end of every episode (“To be Continued” in Heroes)
• Dexter- Voice over narration
• Seinfeld- Doesn’t require serial knowledge of past shows, but is complex because of its unresolved moments and interweaving story lines.

What are some non-serial/complex narrative television shows?

 

Why is this important?

• Many viewers don’t want to watch simple shows anymore.  They want to watch something that will actively engage them and keep them hanging off the edge of their seat.
• There is more of a variety in what someone can watch on TV.
• TV can now be looked at as more of a legit form of literacy.
• Storytelling is becoming much more advanced and realistic as opposed to shows that always have a happy ending or closure.
• It is a more honest depiction of human behavior and interactions as well as every single human in this world has his own story that often interweaves and connects to others’ stories.

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