Abstract
The new developments and transformations that changed the television have also some outcomes about content, style, and performanses in the productions. Thus, quality drama series on dijital television and internet subscription TV platforms like Netflix are getting more attention of the audience. New or sub-genres, anti-heroes, muli-protagonists, moral dilemmas, new inquiries in socio-psychologycal level caused distinction between good and evil becomes more complex in this djital transformation age of television. In this context, Money Heist, which contains a harsh system criticism behind the robberies in its narrative, is considered a symbol of resistance with its unique iconography created by its aesthetics, genre, multi-protagonist characters and story, gained big attantion from global audiences. To understand how Money Heist achieved this audience support, it is evaluated in the context of genre, character structure, and iconography that created a symbolism of resistance in a global scale, considering the developments in television by the digital transformation.
TopIntroduction
Television has undergone digital transformation in different contexts by virtue of the rapid developments witnessed in internet technologies. This change and transformation process, noticed in the ongoing television broadcasting and new television viewing practices, has also some transforming effects in production and distribution in the context of industry; in genre, aesthetics, technique and content in the context of narrative; and in social, cultural and ideological dimensions in the context of the audience. The effects of the transformation created by new technologies in television and its viewing practices are observed today on the most common and global scale in Netflix and similar SVOD platforms. These platforms, which have their own dynamics independent of the requirements of the commercial system specific to network television, have the opportunity to produce more creative and commercially risky narratives or transfer them from network television. Money Heist (2017-) or La Casa de Papel in its original name, is an example of this phenomenon. Money Heist, which can be considered in the heist sub-genre of crime, contains a strong system criticism behind the two robbery themes in its narrative. This feature requires a reinterpretation of the meaning that a crime-themed narrative based on evil characters, not only in terms of the genre distributed by this platform but also what expresses to the new television audience. The characters who are evil because they commit illegal acts and they are outlaw can get the public support. Is illegal action morally acceptable or legitimate? How does a robbery gain public support and the challenge symbolized by this robbery turns into a resistance? Money Heist reveals a criticism that answer questions that contain such dichotomies of good and evil with both its visual aesthetics and content.
Money Heist with its theme, genre, multi-protagonist character structure and iconography that has turned into a global phenomenon can be evaluated in the context of why the new television, which is currently in digital transformation, is so effective on the new viewer who are mostly digital native.
TopNew Television And Netflix
Various comments and evaluations have been made in recent years about the end of television. Nevertheless, new technologies have allowed television to go through digital transformation rather than ends. Thanks to the advancements in internet technology, significant developments and transformations occurred in television broadcasting, service distribution and viewing practices. One of the most significant consequence of these improvements is that television became more individualized than ever before. This individualized television gained greater importance through emerging media platforms and distribution formats. As Gray and Lotz (2019) indicate, the advent of television distributed through the internet is one of these innovations. Video content transmitted over internet protocols has accelerated the development of mediums, which allow for very different television viewing experiences, recently. This led to significant changes in television broadcasting and service. While network television is benefiting from this digital transformation, new TV services have also emerged. These overall developments brought about by the technological transformation enabled television studies to be continued in a broader scope. Known as “Live Television, Filmed-series Television and 'Quality' Television” in previous periods, television is now expressed in classifications such as “Multi-channel or Digital Television” in the context of transmission and reception technologies, new revenue generation methods and new content creation formats (Moran and Malbon, 2009, p. 9). Thus, with the development of digital broadcasting applications such as digital television, cable TV, PPV, OTT, and service providers such as VOD and SVOD, finally subscription platform TV services have been reached. In its most general definition, the platform, which is defined as the “technology which allows the viewer to receive electronic content” (Griffiths, 2003, p. 57), started to become widespread as a television service. The commercial success that subscription platform TV achieved on a global scale has created a contemporary television concept defined through new broadcasting and distribution structures and new viewing practices. Subscription TV platforms and streaming services became widespread and available for users through the internet network. This new broadcasting service, which can be accessed from various devices such as televisions, computers, tablets, consoles and mobile phones that support high quality video and audio, enables users to receive this service whenever and wherever they want.
Key Terms in this Chapter
SVOD: It stands for 'subscription video on demand' that can be consumed per a specific period by paying service fee.
Series: A group of programs divided into seasons or sets of episodes that based on a narrative and is broadcast on television.
Streaming Television: Television that digitally distributes its audiovisual content as streaming over the Internet network.
Genre: Type of art, painting, literature, music, film, or TV show that can be classified by certain common features.
Narrative: A storyline with a beginning, middle and end for telling a story, whether real or fiction.
Binge Viewing: Watching multiple episodes of a TV series without giving a break.
Digital Transformation: Integration of digital technology into non-digital areas and thus the emergence of productive, operational, organizational, or cultural change in these areas.