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 Is slow TV taking over the airwaves?

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Nombre de messages : 15
Date d'inscription : 23/03/2011

Is slow TV taking over the airwaves? Empty
MessageSujet: Is slow TV taking over the airwaves?   Is slow TV taking over the airwaves? Icon_minitimeJeu 17 Nov - 19:45



By Jon Kelly BBC News Magazine
Television
Continue reading the main story
In today's Magazine

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The return of Danish drama The Killing to television screens is the latest evidence of a shift towards long and glacially paced, small-screen drama. So why has slow TV taken off?

It's hardly The Sweeney. Car chases and explosions are thin on the ground. Sensational weekly denouements and wild plot twists are conspicuous by their absence.

The Killing's gradual, deliberate pacing seems to flout the conventions of the prime-time television crime thriller - a feature that puts it in company with other, similarly unhurried recent hit programmes.

Brooding, Pinter-esque pauses abound and violence, when it occurs, is downplayed. Dark, rainswept settings frame a mood of near-endless gloom. In its first series, the investigation of a single murder is played out over 20 hour-long episodes.

Returning for a second series on BBC Four, the abiding characteristic of the programme is its slowness. But it's not "slow" in the normally derogatory sense, but rather slow in the sense of working to a crescendo. It's proved a global hit and has already earned a US remake.

There are plenty of US shows that now adhere to the "slow TV" template. The Killing was preceded by Mad Men, a series whose lack of velocity makes the Danish thriller look like Walker, Texas Ranger.
Continue reading the main story
“Start Quote

The box set is slowly revolutionising the way we watch TV -audiences are choosing to watch in their own time”

End Quote Abi Morgan Screenwriter

In Matthew Weiner's 1960s-set serial - shown in the US on AMC and about to be a flagship series for the UK's Sky Atlantic - the focus is firmly on tone, mood and character development at the expense of plot-points. Entire episodes pass by in which relationships may subtly alter and themes of identity, alienation and social change be explored, but very little actually happens.

The widely hailed novelistic style of HBO's The Wire saw story arcs rise and fall across series. Though the Baltimore-set crime drama may have had its fair share of action, eventually, writer David Simon's follow-up, Treme, about the aftermath of Hurricane Katrina, was profoundly slow-paced.

Such is the influence of this kind of drama that the Mail on Sunday ran an article criticising ITV1's flagship Sunday evening costume drama, Downton Abbey, for apparently unwelcome "breakneck" pace in the second series.

Slow-tempo TV is hardly new, of course. Series like the 26-part Forsyte Saga and the TV version of Tinker Tailor Soldier Spy unfolded gradually. Granada Television's classic 1980s dramas Brideshead Revisited and The Jewel in the Crown spread out over 11 and 13 hours respectively.

And two decades ago international audiences embraced Twin Peaks in huge numbers despite its lack of urgency in revealing Laura Palmer's murderer.

But what distinguishes the current incarnation of slow TV is that it flies in the face of conventional wisdom about modern audiences demanding immediacy, their attention spans sapped by the ever-moving online era.

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