By Jennifer Hayward
" ""To be continued... "" no matter if those phrases fall at a season-ending episode of famous person Trek or a television advertisement flirtation among coffee-loving friends, real enthusiasts locate them irresistible. Ever because the 1830s, while Charles Dickens's Pickwick Papers enticed a mass marketplace for fiction, the serial has been a well-liked technique of snaring avid audiences. Jennifer Hayward establishes serial fiction as a different style -- one outlined through the actions of its viewers instead of through the formal traits of the textual content. starting from installment novels, mysteries, and detective fiction of the 1800s to the tv and picture sequence, comics, and ads of the 20th century, serials are loosely associated by way of what should be referred to as "family resemblances." those characteristics comprise intertwined subplots, different casts of characters, dramatic plot reversals, suspense, an such narrative units as long-lost family and evil twins. Hayward chooses 4 texts to symbolize the evolution of serial fiction as a style and to research the unusual draw that serials have upon their audiences: Dickens's novel Our Mutual pal, Milton Canif's caricature Terry and the Pirates, and the cleaning soap operas All My young children and One lifestyles to reside. Hayward argues that serial audiences have built lively options of intake, corresponding to collaborative examining and makes an attempt to form the creation strategy. during this approach enthusiasts have pressured serial manufacturers to recognize the facility of the viewers.
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Additional resources for Consuming pleasures: active audiences and serial fictions from Dickens to soap opera
What we have here, in short, is another example of attempting to dismantle the master's house by borrowing the master's tools. This approach is perhaps necessary or even unavoidable at a certain stage of the construction process. But at a later stageif we truly want to build a new and different housewe need to find new tools, new terms of discourse. Rather than select our favorite mass texts and argue that they are exemplary, setting them above other such texts as unique paragons of "good taste" to prove them worthy in spite of their mode of production, we could focus on other qualities.
Once regarded as distinct entities to be treated in isolation from each other, text, production, and consumption have become increasingly intertwined, their borders blurred by the realization that, as John Fiske contends with regard to television, "there is no text, there is no audience, there are only the processes of viewing" (1989, 57). Mass culture does not exist without its audience, which may subvert, revise, or challenge meanings in ways not intended by producers; and that audience expectations shift over time and across technologies will become apparent through the cumulative evidence of this book.
But] genre describes not so much a group of texts or textual features as it does a dynamic relationship between texts and interpretative Page 16 communities" (44). Once regarded as distinct entities to be treated in isolation from each other, text, production, and consumption have become increasingly intertwined, their borders blurred by the realization that, as John Fiske contends with regard to television, "there is no text, there is no audience, there are only the processes of viewing" (1989, 57).