Serial
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"Serial" is a term, originating in literature, for a format by which a story is told in contiguous installments in sequential issues of a single periodical publication. More generally, "serial" is applied in library and information science to materials "in any medium issued under the same title in a succession of discrete parts, usually numbered (or dated) and appearing at regular or irregular intervals with no predetermined conclusion."[1] By extension, "serial" also came to apply to a film issued in the same installment manner over a period of sequential weeks at a single movie house.
In recent times, the term has been used for a radio or television production with a continuously evolving, unified plot and set of characters, spread over multiple episodes and sometimes years (see, e.g., "soap opera"). Unity of plot and contiguity across numerous episodes distinguishes a radio or television serial from a radio or television series. In British television, "serial" is also synonymous with the American term "miniseries" — a short-run series in which a single overarching story is told across several episodes and concludes in the final installment.
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During the 19th century, many popular writers earned a living by writing stories in serial form for popular magazines.
Many of Charles Dickens' novels were originally published in this manner, for example, and this is the reason that many of them are so long — the more chapters Dickens wrote, the longer the serial continued in the magazine and the more money he was paid.
Other famous writers who wrote serial literature for popular magazines include Sir Arthur Conan Doyle, who created the Sherlock Holmes stories originally for serialization in The Strand magazine; Wilkie Collins, inventor of the English detective novel and author of "The Moonstone"; and the Polish writer Bolesław Prus, author of the serialized novels, The Outpost (1885-86), The Doll (1887-89), The New Woman (1890-93), and Prus' sole historical novel, Pharaoh (exceptionally, written entire over a year's time in 1894-95 and serialized only after completion, in 1895-96).
See also:
[edit] Film
[edit] Radio and television
With the advent of television and the decline of the moviegoing audience, production of serials ceased due to the decreasing audience (and revenues). But the serial lived on, moving instead to the small screen and the world of TV reruns.
The television serial format as we know it today actually originated in radio, in the form of daily 15-minute programs known as soap operas (so-called because many of these shows were sponsored by soap companies, such as Colgate-Palmolive and Procter & Gamble), and children's adventure shows. Soap operas were specifically engineered to appeal to women (clearly to entice them to buy more soap). They usually ran from Monday through Friday at exactly the same time every day. A show called The Smith Family which ran only one night a week on WENR in Chicago during the early 1930s was credited as the "great-granddaddy of the soap operas" by radio historian Francis Chase, Jr. One of the other shows that helped pioneer the daytime soap opera/serial was The Guiding Light, which debuted on NBC radio in 1937, and is still airing today on CBS Television (where Guiding Light has been since 1952). Some of the characters in soap operas have been portrayed as long-suffering (a common theme even in some of today's serials along with the social and economical issues of the day). Children's adventure serials were more like film serials, with continuing characters involved in exploits with episodes that often ended in a cliffhanger situation.
Guiding Light and such other daytime serials such as As the World Turns (premiered in 1956), General Hospital (premiered in 1963), Days of Our Lives (premiered in 1965), One Life to Live (premiered in 1968), All My Children (premiered in 1970), and The Young and the Restless (premiered in 1973) were popular in the Golden and Silver Ages of television and still are today.
Aside from the social issues, the style and presentation of these shows have changed. Whereas in the 1950s and 1960s the drama was underscored with traditional organ music, and in the 1970s and the 1980s a full orchestra provided the score, the daytime dramas of today use cutting-edged synth-driven music (in a way, music for soaps has come full-circle, from the keyboard to the keyboard).
The nighttime serials are a different story, though the concept is also nothing new. In the 1960s, ABC aired the first real breakthrough nighttime serial, Peyton Place, inspired by the novel and theatrical film of the same name. After its cancellation, the format went somewhat dormant until the mid-1970s when ABC themselves brought it back with, of all things, a comedy soap (aptly called Soap). Although the show was controversial for its time (with a homosexual character among its cast roster), it was (and still is today) a cult classic.
The era of "primetime soaps" (as they are often called) really began to reach its peak when CBS began to air Dallas (which propelled Larry Hagman to stardom) in 1978. It was with this show that defined the end-of-season cliffhanger (with its "Who Shot J.R.?" and "Bobby in the Shower?" storylines) that is still utilized in many oftoday's series (whether serials or not).
In the 1980s, there were other nighttime soaps as Dynasty (ABC's answer to Dallas), Knots Landing, The Yellow Rose, and Falcon Crest. There were some serial shows such as Hill Street Blues and St. Elsewhere that did not officially fit into this category, but were nonetheless ratings hits season after season. As the 1990s came to a close, the primetime soap as an official format slowly passed into the sunset, where it largely seems to remain as of the middle of the first decade of the 21st century in the U.S.
But the primetime serial constructure can still be seen today in such contemporary U.S. shows as E.R., The West Wing, 24, Alias, Lost and Veronica Mars. The term "serial" has become outdated, however, and viewers now speak in terms of these shows making use of "story arcs." In addition, it has been noted that the use of cliffhangers is still prevalent in adventure shows, its just that they are now typically used just before a commercial break and the viewer need only wait a few minutes to see its resolution. In addition, 24 and Alias, as well as other series such as Star Trek: Enterprise have also extensively made use of the traditional end-of-episode cliffhanger format. This often applies to their season finales which often end in a cliffhanger that would only be resolved in the next season's premiere.
In British television, the term 'serial' is usually used to cover what American audiences would more commonly call a 'miniseries'. Many British television serials tend to be high-profile dramas, either costume drama such as Pride and Prejudice (BBC One, 1995) or contemporary social drama such as Our Friends in the North (BBC Two, 1996). In addition, Doctor Who's stories have a limited serial format with the typical episode running around four parts, though some stories like "The Dalek Master Plan" ran as long as twelve. However, the revived series has abandoned the format for standard self-contained episodes with some two-parters along with an overall plot arc.
[edit] References
- ^ Reitz, Joan M. (2004). Online Dictionary for Library and Information Science. Retrieved 15 March 2006
