The Specificity of the Genesis of the National Television Series as an Original Cultural-Informational Phenomenon

Keywords: television series, film series, cultural phenomenon, defamiliarization, theory of deconstruction, aestheticization of politics.


The article is devoted to the study
of the formation of the television series
as an independent cultural phenomenon,
as well as a multifunctional means of mass
communication. Based on the concept
of Vladimir S. Sappak, the author examines
the television series not simply as a form
of the existence of art cinema in the space
of television, but as a new cultural
phenomenon which arose and continues
to develop under the influence of a whole
complex of types of visual culture and art.
While studying the genesis of the television
series, the author traces the process
of the formation of the film series as one
of the basic components of the television series,
which was also influenced by such types
of visual popular culture as popular print
and comics. Revealing the specificity
of the genesis of the television series,
the author turns to Victor B. Shklovsky’s idea
of defamiliarization as an artistic device
aimed at creating a special perception
of the subject by the audience.
As a specific feature of the modern
television series, the high degree
of its dynamism distinguishes itself,
the latter being due to the constant exchange
of information with objects that also
accumulate social information. Therefore,
the television series becomes a space where the convergence of documentary and artistic
communication flows is actively taking
place. The results of this convergence can be
attributed to the formation
in the post-Soviet space of a unique
phenomenon — a politically engaged
television series.

Cinema and Television: Creative Process