Tales and narratives have appeared in different forms since the birth of
mankind. It has all started with ancient cave paintings that have told stories to
those who have found them. The next step has been the writing on stones, like
the ten commandments of the holy Bible. The writing on paper has been a
progression to the writing on stones and has until today become the most
popular form of narrating and telling stories. During the last century, however,
a new form of providing an audience with narratives has slowly arose, which
has, until today, managed to become quite a competition to books: films and
TV-series. While books are still the most popular medium for telling stories,
TV-series and films have managed to create a steadily growing niche.
This new possibility of telling stories with actors, sound, music and special
effects has become more and more popular. While films always have to hope
for a sequel, which depends on the gross the film has made, TV-series can and
must focus on a narrative sequence from the beginning. It all starts and ends
with seriality.
Table of Contents
1) Introduction
2) Seriality and serial narration
3) Characters
3.1) Protagonists and antagonists
4) Series, Serial and cumulative narrative
4.1) Lost
4.2) Supernatural
5) Seriality in TV-series
5.1) Lost
5.2) Supernatural
6) The development of protagonists and antagonists
6.1) Lost
6.1.1) Science and faith
6.1.2) Kate's affection
6.1.3) Protection of the island
6.2) Supernatural
6.2.1) Family protection
6.2.2) The demons' plan
6.2.3) The angels' recklessness
7) Similarities and differences in character development
8) Conclusion
Research Objectives and Themes
This thesis examines the concept of seriality in modern television, specifically investigating the serial development of protagonists and antagonists in the series "Lost" and "Supernatural" to determine if their narrative structures utilize theme-based antagonistic relationships.
- History and definition of serial narration and TV-series structure
- Analysis of narrative models: series, serial, and cumulative narrative
- Character archetypes and the role of protagonists vs. antagonists
- Comparative analysis of character development in "Lost" and "Supernatural"
- Exploration of theme-based antagonistic constellations
Excerpt from the Book
3.1) Protagonists and antagonists
A first definition of what protagonists and antagonists (or heroes and anti-heroes) are can be found within Introduction to Literature, Criticism and Theory: "[...] The most obvious definition of the 'hero' or 'heroine' of a novel or play would be the person with whom we 'identify', with whom we sympathize or empathize, or whose position or role we imaginatively inhabit. The anti-hero, by contrast, is the character with whom we might identify, but only in wilful resistance to prevailing codes of morality and behaviour."
The relationship between protagonists and antagonists "renders their characteristics even more apparent than type formation does anyway", thus making their interaction even more important. Yet, to fully understand the relationship between protagonists and antagonists I first have to clarify the terms. A character that is seen as a protagonist fulfils certain qualities that the audience can easily relate to and plays the most important role in the narrative, thus making him the hero of the story. "The hero assumes the function of a protagonist who focuses the narrative upon himself and his actions and places them in perspective through his world of experience [...]". In contrast to that, the antagonist is the one who crosses the protagonist's path more than once and who follows his goals and tries to achieve these without thinking about the consequences for the antagonist. The antagonists do not necessarily have to be evil masterminds who want to bring the protagonist down no matter what, they can even be protagonists of a story that develop an urge to achieve their goals and therefore trying everything to get to their goals. This is especially important for the later chapters that deal with protagonists and antagonists in Lost.
Summary of Chapters
1) Introduction: Discusses the historical progression of storytelling from cave paintings to modern TV-series, highlighting the rising importance of serial narratives.
2) Seriality and serial narration: Defines seriality through literature and theory, establishing the historical and cultural context of serial storytelling.
3) Characters: Explores the requirements for believable, life-like characters and their role in establishing narrative credibility.
3.1) Protagonists and antagonists: Defines the roles of heroes, anti-heroes, and antagonists, examining how multiple protagonists impact narrative structure.
4) Series, Serial and cumulative narrative: Distinguishes between three narrative models—series, serial, and cumulative—and evaluates how they function on television.
4.1) Lost: Analyzes "Lost" as a primary example of a cumulative narrative structure with distinct time lines and mystery elements.
4.2) Supernatural: Evaluates "Supernatural" as a series that blends serial and cumulative elements through its hunt-based narrative structure.
5) Seriality in TV-series: Examines technical and creative serial elements, such as showrunners, writers, actors, and filming locations, that maintain coherence.
5.1) Lost: Details how the production team, narrative timelines, and recurring mysteries in "Lost" establish serial coherence.
5.2) Supernatural: Analyzes the production team, recurring motifs, and episode-specific structures that provide coherence in "Supernatural".
6) The development of protagonists and antagonists: Sets the framework for analyzing the characters of both shows through chosen themes.
6.1) Lost: Investigates the character dynamics in "Lost" through specific thematic lenses.
6.1.1) Science and faith: Focuses on the development and rivalry of Jack Shephard and John Locke as protagonists and theme-based antagonists.
6.1.2) Kate's affection: Examines the complex relationships involving Kate Austen, Jack Shephard, and James 'Sawyer' Ford.
6.1.3) Protection of the island: Analyzes the roles of Jacob and The man in black in protecting or corrupting the island.
6.2) Supernatural: Examines the development of the Winchester brothers and their foes within specific thematic categories.
6.2.1) Family protection: Explores the motivations of Sam, Dean, and John Winchester regarding the preservation of their family.
6.2.2) The demons' plan: Investigates the goals of demons like Azazel, Lilith, and Ruby in their attempts to trigger the apocalypse.
6.2.3) The angels' recklessness: Analyzes the ambiguous morality of angels such as Castiel, Uriel, and Anna in their celestial struggle.
7) Similarities and differences in character development: Compares how both shows utilize theme-based antagonists and common character motifs.
8) Conclusion: Summarizes the findings, confirming the shift from old-fashioned, hero-villain patterns to complex, theme-based antagonistic relationships.
Keywords
Seriality, serial narration, television series, protagonists, antagonists, cumulative narrative, Lost, Supernatural, character development, theme-based rivalry, narrative structure, coherence, showrunners, science and faith, apocalypse.
Frequently Asked Questions
What is the basic focus of this thesis?
This thesis explores the structural and character-driven aspects of serial narration in modern television, focusing on how protagonists and antagonists are developed in "Lost" and "Supernatural".
What are the primary themes investigated in the study?
The work focuses on narrative models, the roles of heroes and anti-heroes, the influence of production teams on serial coherence, and theme-based antagonistic relationships.
What is the core research goal?
The aim is to determine if a "serial development" of characters exists in modern TV-series and whether these shows successfully employ theme-based antagonists to enhance narrative complexity.
Which scientific methodology is applied?
The author uses a qualitative, analytical approach, comparing narrative models and identifying patterns in character behavior and interaction across multiple seasons of the selected shows.
What is covered in the main part of the analysis?
The main part analyzes the narrative structures of both series, the production elements that maintain coherence, and detailed case studies of character development under themes like "science and faith" or "the demons' plan".
Which keywords best characterize this work?
Key terms include seriality, narrative models (series, serial, cumulative), protagonists, antagonists, theme-based rivalry, and character coherence.
How does the narrative structure of "Lost" differ from traditional series?
The author argues "Lost" is a cumulative narrative, utilizing multiple timelines, flashbacks, and a complex interplay between character focus and the overarching plot, unlike episodic shows.
What is a "theme-based antagonist" according to the author?
A theme-based antagonist is a character who opposes the protagonist not simply out of inherent evil, but due to conflicting ideologies or goals related to a specific theme, such as faith versus science.
How is the "Family protection" theme used in "Supernatural"?
It acts as the driving force for the Winchester brothers, often putting them into conflict with external forces and each other, thereby serving as a source of both motivation and antagonism.
- Arbeit zitieren
- Rouven Dirb (Autor:in), 2011, Supernaturally Lost - TV-series as a modern form of narrative, München, GRIN Verlag, https://www.hausarbeiten.de/document/182897
