Vinsamlegast notið þetta auðkenni þegar þið vitnið til verksins eða tengið í það: http://hdl.handle.net/1946/30224
This essay explores the subject of the “movie-episode”, i.e. a feature length installment in a television series, in order to uncover its relationship with the established structural patterns of the series. It argues that many television series function as their own distinct structural systems, using three examples of the half-hour sitcom format to illustrate its point.
The first section offers a brief overview of the history of structural analysis, emphasizing the commonalities that govern certain genres in order to draw a parallel between said genres and the internal structural systems of television shows. Afterwards, it focuses in on the mediums of film and television and offers a more concrete definition of the “movie-episode” concept.
The second section looks at the structural relationship between The Simpsons and The Simpsons Movie, exploring how the latter differentiates itself from regular episodes of the former while simultaneously existing within the series as a whole. After that, there is a section on Futurama and the four films it spawned that specifically looks at how the nature of the films’ production affected their structure.
The third section concerns a serialized Icelandic comedy series (referred to as “the Shift tetralogy” for the purposes of this essay) whose movie-episode serves as the series finale. Here, the focus is on how serialized television operates on multiple structural levels and the techniques that this show specifically uses to continuously evolve its narrative, culminating in the feature-length, theatrically released finale.