Abstract
Contemporary television has a much different feel than the formulaic conventional programs of the past. Viewing patterns, overall consumption, and fan reception have dramatically changed with the ease and availability of online streaming and other technology. Complex TV: The Poetics of Contemporary Television Storytelling captures the intricacy of the current climate. In this book, Dr. Jason Mittell, professor of film and media culture and American studies at Middlebury College, uses a multilayered narrative analysis to explicate the storytelling process, narrative, authorship, and character development, as well critically examining fan reception in the digital world.
The book’s strengths are in Mittell’s truly complex approach to studying contemporary TV. He ventures outside of text to what he calls “paratext,” and “transmedia,” exploring fan and network-created discourse of popular television programs. The author has extensive knowledge of both relevant theory and television and is apt at weaving them together. Mittell brings in Stuart Hall, Pierre Bourdieu, David Bordwell, and other theorists from film, media, and cultural studies to explain production, consumption, comprehension, and reception. This approach, conveyed through Mittell’s eloquent writing, establishes this book as a solid piece of academic scholarship.
To take readers through discussion of production and authorship, character development, program pilots and series endings, comprehension, and other topics, Mittell primarily draws from Lost, as well as Veronica Mars, Alias, Curb Your Enthusiasm, and other shows. Many of the chapters begin with broad concepts and theory and end with close readings of these specific television programs. The chapter on character development is particularly well done, as Mittell carefully articulates the rise of the “antihero” in complex TV and why fans have embraced such characters as Tony Soprano and Walter White. Case study moments like these serve as highlights of the book, exemplifying the central arguments of each chapter. That said, while these examples offer a mix of genres and target audience, the overreliance on Lost may be a drawback for readers unfamiliar with the sci-fi fantasy program.
Mittell also dedicates several chapters to what he calls “paratexts” that orient readers to a program’s fictional narrative world and “transmedia,” which extend the world. Here, one chapter focuses on “forensic fandom,” in which Wikis and other fan sites dissect obscure moments of complicated programs and offer clues to future storylines. In establishing why these sites emerge, Mittell plunges further into the characteristics of complex TV itself, outlining the use of time, place, and other concepts used as narrative strategies. Clear examples of “forensic fandom” for popular shows are given, including a Lost Wiki which Mittell personally helped edit. This discussion, along with the “transmedia” chapter, significantly adds to the book’s contribution, reflecting on the diversity of how contemporary fans consume and make meaning of the deliberately vague narratives of a postmodern, digital era.
Throughout the book, Mittell’s reflexivity is refreshingly honest, as he situates his own position and fandom, including programs he enjoys and those in which he takes little pleasure. Included in the book is a chapter on “evaluation,” in which Mittell speculates on why particular programs resonate with certain viewers. In setting up this discussion, Mittell explicates the definition of “quality television” as a means to map the place and function of TV in American culture—a useful section for any scholar interested in Television Studies. Mittell then goes on to explain compare narrative and aesthetics of several critically acclaimed programs. The chapter concludes with Mittell’s critique of Mad Men, as he explains why he is not a fan. Readers will likely find this part of the book particularly relatable, as Mittell’s experience gives us insight into the tension between formal television criticism of a program and the notion of pleasurable viewing.
This reflexivity extends to the writing process itself. Mittell explains his unique publishing approach—Each chapter was available online for critique prior to the complete manuscript. He discusses how he solicited and incorporated reader feedback into the final product. Furthermore, Mittell outlines chapter themes that were eventually cut, offering information that readers are not usually privileged to receive.
This book as a whole is a significant update to television scholarship. It does, however, have a few drawbacks. Students might find the introduction difficult to follow and may struggle with language choices, theory application, and some of the conceptualizations. I also wondered about the book’s order, as the process-reflexivity at the end of the book took me away from “evaluations” of contemporary series finales. This section may have been a better fit for the introduction. Finally, the number of programs incorporated into the book is laudable. I was sincerely impressed with the breadth of examples. Yet, the close-readings draw from notably few shows, which may confuse or alienate readers if they are not fans.
Overall, however, this book is much more than another television criticism textbook. Mittell’s positioning, analysis, and remaining questions offer strong exploration into media studies, cultural studies, and other relevant areas. This work is recommended for all scholars who study television and related fields. It could also be useful as a textbook for upper-level seminars in cultural studies. Individual chapters may be good pullouts for courses in media studies or film and television criticism. This book may also serve as a good (yet unconventional) model for a qualitative methods course.