Серіальна продукція: питання референції
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Date
2017
Authors
Собуцький, Михайло
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Abstract
Метою пропонованої розвідки є аналіз референції у серіальній продукції різної жанрової належності, зокрема фентезі, псевдоісторичної саги, а також скандинавського нуару (детективу). Головну
увагу звертаємо на підваження референції за допомогою різноманітних прийомів, від створення уявних світів до відсилок усередині сучасного маскульту, що уможливлює застосування так званої
етики психоаналізу до серіальної продукції кінця ХХ та початку ХХІ ст. Розглядаємо не лише візуальну продукцію, таку як «Гра престолів» чи «Вікінги», а й друковані серійні тексти різного походження,
від Італії до Норвегії й Швеції, переважно ті, що створили власне коло споживачів та послідовників. На перший план у сучасному серіалі, як фільмічному, так і літературному, виходить проблематика бажання, не реалізованого у реальному світі, але можливого в просторі без референції.
The most renowned serials of nowadays such as the “Game of Thrones” or “Vikings” reveal relatively new features in the relatively old ethical universe of the fantasy genre. In our opinion, their barbarian cruelty and straightforwardness indicate a shift from conventional or utilitarian ethical standards to a mode which could be described through a maxim forwarded by Jacques Lacan: “One may feel guilty only if one betrays one’s desire.” The desire which is meant here is not a whimsical wish but an innermost principle of an individual’s existence. We cannot hope that a hero of a contemporary serial would be “moral” in the usual sense, but truly devoted to the unconscious desire he or she will be. We equal the British serial “Last Kingdom” in its ethical ruthlessness to the products mentioned above. In our opinion, all of this becomes possible due to the ephemeral reference in such serials. Their authors create the worlds of their own, but, on the other hand, they neglect and defy the rules of a reality test. We can never be sure that any of their heroes ever existed, regardless of their historical names and places they meet one another in. In this article we compare the worlds of fantasy on the screen with written serial products ranging from the Italian “Rasna: La saga del popolo etrusco” to the Norse-Swedish “Sagan om Isfolket”. Their referential status is no less precarious, which fact makes ethical non-conformism possible. We also contrast and compare the fantasy or historical serials to some samples of the so-called “Nordic noir”. Its written version shows, regardless of some obvious reference points in the local environments, time and places, such an ambiguity as to the real or imaginary worlds of mass culture that any ethical excesses become very similar.
The most renowned serials of nowadays such as the “Game of Thrones” or “Vikings” reveal relatively new features in the relatively old ethical universe of the fantasy genre. In our opinion, their barbarian cruelty and straightforwardness indicate a shift from conventional or utilitarian ethical standards to a mode which could be described through a maxim forwarded by Jacques Lacan: “One may feel guilty only if one betrays one’s desire.” The desire which is meant here is not a whimsical wish but an innermost principle of an individual’s existence. We cannot hope that a hero of a contemporary serial would be “moral” in the usual sense, but truly devoted to the unconscious desire he or she will be. We equal the British serial “Last Kingdom” in its ethical ruthlessness to the products mentioned above. In our opinion, all of this becomes possible due to the ephemeral reference in such serials. Their authors create the worlds of their own, but, on the other hand, they neglect and defy the rules of a reality test. We can never be sure that any of their heroes ever existed, regardless of their historical names and places they meet one another in. In this article we compare the worlds of fantasy on the screen with written serial products ranging from the Italian “Rasna: La saga del popolo etrusco” to the Norse-Swedish “Sagan om Isfolket”. Their referential status is no less precarious, which fact makes ethical non-conformism possible. We also contrast and compare the fantasy or historical serials to some samples of the so-called “Nordic noir”. Its written version shows, regardless of some obvious reference points in the local environments, time and places, such an ambiguity as to the real or imaginary worlds of mass culture that any ethical excesses become very similar.
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Keywords
серіал, референція, бажання, етика, означник, стаття, serial, reference, desire, ethics, signifier
Citation
Собуцький Михайло Анатолійович. Серіальна продукція: питання референції / Собуцький М. А. // Магістеріум. Культурологія. - 2017. - Вип. 68. - С. 32-35.