Abstract
The conclusion takes a wide perspective on the book’s testing of its dimensions of specificity model, scrutinising the key theoretical issues that the combination of case studies raise. It also considers the further study that is required to fully trace the intricacies of connections that link a given narrative to its medium.
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- 1.
In considering Deadwood in relation to nineteenth-century literary serial narrative, Sean O’Sullivan recognises television’s practice of commissioning seasons of drama series as an important mark of distinction between the two media, and explores its implications. Sean O’Sullivan, ‘Old, New Borrowed, Blue: Deadwood and Serial Fiction’, in Reading Deadwood: A Western to Swear By, ed. David Lavery (London: I. B. Tauris, 2006), 121; Sean O’ Sullivan, ‘Reconnoitering the Rim: Thoughts on Deadwood and Third Seasons’, in Third Person: Authoring and Exploring Vast Narratives, ed. Pat Harrigan and Noah Wardrip-Fruin (Cambridge, MA: MIT Press, 2009), 324–335.
- 2.
For discussion of the ‘media ecology’ metaphor within media theory, see Ursula K. Heise, ‘Unnatural Ecologies: The Metaphor of the Environment in Media Theory’, Configurations 10, No. 1 (2002), 149–168.
- 3.
Jay David Bolter and Richard Grusin, Remediation: Understanding New Media (Cambridge, MA: MIT Press, 1999).
- 4.
See Ryan, Avatars of Story, 26.
- 5.
Christina Klein, ‘Kung Fu Hustle: Transnational Production and the Global Chinese-Language Film’, Journal of Chinese Cinemas 1, No. 3 (2007), 204–205.
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Smith, A.N. (2018). Conclusion. In: Storytelling Industries. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-70597-2_6
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DOI: https://doi.org/10.1007/978-3-319-70597-2_6
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