By Stacey Abbott
First aired in 2001, Alias is a undercover agent drama with a critical motion heroine, a fancy narrative of ethical twists, turns, lies and double-crosses, and an inventive array of devices, gizmos and glamorous costumes. It has turn into a number one cult tv sequence with a devoted fan following. within the wake of September 11, Alias' topics of doubles and duplicity were completely positioned to touch upon international relatives and the non-public paranoias of submit 11th of September voters. yet up to Alias displays modern worldwide politics, at its center are subject matters of relations and relationships. The sequence is finishing with a bang in 2006 and this is often the 1st ebook to provide an in depth exam of the sequence in its entirety, with an entire episode advisor. Placing the sequence in the wider context of yankee caliber tv and the undercover agent style, individuals contemplate the vital function of family members, race, gender and ethical ambiguity in Alias. additionally they concentrate on the writer, JJ Abrams, and talk about the advance and impression of the fan international past the sequence with in-depth stories of DVD releases, tie-in, fan and cut back fiction. Designed for lovers, enthusiasts of spies on display, scholars and students, Investigating Alias uncovers the secrets and techniques of an exquisite exhibit
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Additional info for Investigating Alias: Secrets and Spies (Investigating Cult TV)
This chapter is based on a textual analysis, but I will also attempt to bring a discussion of production conditions into the argument in order to provide a more nuanced and critical picture of narrative and seriality in modern American quality television. ANALYTICAL FRAMEWORK On the following pages, I present a series of diagrams illustrating the serial narrative in Alias, tracking the various subplots and how they develop across seasons. I have identified as subplots any element of the story that is framed within the discourse as a conflict moving towards a resolution.
NARRATIVE AND SERIALITY IN ALIAS The interweaving of multiple plot threads was long viewed as a particular characteristic of soap operas, but is now the norm in all AQT. Ndalianis (2005), following Calabrese (1992), identifies contemporary serial television narratives as neo-baroque – the fifth of five basic prototypes of television narrative. The five prototypes can be viewed as different positions on the series/serial continuum: the first prototype is founded on distinct episodes with no overall season narrative (Ndalianis uses I Love Lucy as an example of this, despite the fact that I Love Lucy actually had seasonal narratives), whereas the fifth prototype, ‘without a doubt the most dominant serial form in television series today’ (Ndalianis 2005: 95), is characterised by multiple parallel narratives and an episode/seasonal structure that blends elements of all previous prototypes.
1991: 132), a dichotomy that can only be resolved through action and the abolition of absolutes. Thus Sydney’s ultimate role is to mediate these competing impulses within the drama, which of course is why both sides hunger for her, her body and her mind. M. Forster: ‘If I had to choose between betraying my country and betraying my friend, I hope I should have the guts to betray my country’ (cited by Angelini). This privileging of self over nation, loyalty to one’s own sense of statehood within the extended family sphere of friendship and consanguinity before the obligation to abstract or impersonal notions of patriotism is what the internal struggle in Sydney’s character is fundamentally striving for.