By Steven Peacock
Time has named 24 one of many "Best tv occasions of the Decade." With an leading edge structure that makes use of one hour of actual time for every episode, and a season that includes one twenty-four hour interval, the convey zeroes in at the fears and hazards of a post-9/11 global and the ways that threats are transmitted, tracked down, and fought. From assassination makes an attempt and germ conflict to terrible terrorist plots, Kiefer Sutherland's Agent Jack Bauer embodies America's darkest fears and its perilous position on this planet this present day. This publication brings jointly severe discussions of the sequence from many various perspectives. It covers every thing from the show's unconventional structure to discussions of globalism, oil, the politics of torture, and gender, and contains an episode advisor.
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Extra resources for Reading 24: TV against the Clock (Reading Contemporary Television)
Instead of reaching toward another cultural form for legitimation, 24’s deployment of excessive videographic style is an engagement and critique of twenty-first century television. If in the past television programmes had to pretend to be cinema in order to be considered worthy of distinction, 24 announces that televisual techniques have advanced to the point where quality can be found in televisual style itself. 24 and twenty-first-century quality television 19 Structure: Playing with Time Beyond 24’s privileging of style, the programme’s challenges to the norms of dramatic television go beyond the merely visual.
The series has also been likened to recent films such as Mike Figgis’ Timecode (2000), made the year before the first season of 24 aired, which showed its four, simultaneously unfolding, narratives in splitscreen quadrant panels and in continuous time (Talen 2002). Seen by some critics, such as Tim Goodman in the San Francisco Chronicle, as an audacious gimmick to attract attention, others, like Sean Weitner, claim 24 presented something new and interesting: I’m not sure how well all this split-screen works.
While it is tempting to read this as an example of television’s anxieties regarding its own aesthetics, one instead might ask if the cable news programming and 24 are remediating 18 reading 24 the Internet web page aesthetic, or whether the Internet is simultaneously remediating videographic television and the newspaper. Recall that Caldwell identified a heavy emphasis on graphic effects, logos, and picture in picture, such as CNN’s penchant for ‘electronic feeds, image-text combinations, videographics, and studios with banks of monitors’ (1995: 13) in the 1980s and early 1990s, long before the World Wide Web was a cultural phenomenon and object with its own aesthetics.