Series Under Threat

Lockdown has given us an occasion to discover new television series and to revisit others. TV series accompany us in our ordinary lives, but they can also be a resource or refuge in extraordinary situations. As the enduring success of Friends proves, they provide us with universes of comfort. TV ser...

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Main Author: Laugier Sandra
Format: Article
Language:English
Published: De Gruyter 2021-12-01
Series:Open Philosophy
Subjects:
Online Access:https://doi.org/10.1515/opphil-2020-0165
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author Laugier Sandra
author_facet Laugier Sandra
author_sort Laugier Sandra
collection DOAJ
description Lockdown has given us an occasion to discover new television series and to revisit others. TV series accompany us in our ordinary lives, but they can also be a resource or refuge in extraordinary situations. As the enduring success of Friends proves, they provide us with universes of comfort. TV series provide strong common cultural referents, which populate both ordinary conversations and political debates. TV series, by virtue of their aesthetic format (their duration, weekly and seasonal regularity, and the fact that they are, or were until recently, usually viewed in the context of the home), the attachment they inspire to their characters, the democratization and diversification of modes of viewing them (internet, streaming, discussion forums), make possible a specific form of education and constitution of a public. TV shows are hence a medium for political and ethical discussion. The article studies two series, Homeland and The Bureau, which are paradigmatic examples of a genre that has grown exponentially since the beginning of the century, and which we refer to as the “security series” genre. These series are great works of art and can also be seen as powerful tools for educating and informing the public.
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spelling doaj.art-245bf5636dbb478098677c15caa452cb2022-12-22T03:33:57ZengDe GruyterOpen Philosophy2543-88752021-12-015115516710.1515/opphil-2020-0165Series Under ThreatLaugier Sandra0Université Paris 1 Panthéon Sorbonne, Paris, FranceLockdown has given us an occasion to discover new television series and to revisit others. TV series accompany us in our ordinary lives, but they can also be a resource or refuge in extraordinary situations. As the enduring success of Friends proves, they provide us with universes of comfort. TV series provide strong common cultural referents, which populate both ordinary conversations and political debates. TV series, by virtue of their aesthetic format (their duration, weekly and seasonal regularity, and the fact that they are, or were until recently, usually viewed in the context of the home), the attachment they inspire to their characters, the democratization and diversification of modes of viewing them (internet, streaming, discussion forums), make possible a specific form of education and constitution of a public. TV shows are hence a medium for political and ethical discussion. The article studies two series, Homeland and The Bureau, which are paradigmatic examples of a genre that has grown exponentially since the beginning of the century, and which we refer to as the “security series” genre. These series are great works of art and can also be seen as powerful tools for educating and informing the public.https://doi.org/10.1515/opphil-2020-0165televisionethicsdemocracythe bureau (tv show)homeland (tv show)cavellcare ethics
spellingShingle Laugier Sandra
Series Under Threat
Open Philosophy
television
ethics
democracy
the bureau (tv show)
homeland (tv show)
cavell
care ethics
title Series Under Threat
title_full Series Under Threat
title_fullStr Series Under Threat
title_full_unstemmed Series Under Threat
title_short Series Under Threat
title_sort series under threat
topic television
ethics
democracy
the bureau (tv show)
homeland (tv show)
cavell
care ethics
url https://doi.org/10.1515/opphil-2020-0165
work_keys_str_mv AT laugiersandra seriesunderthreat