Writing series: The Occupational Culture of Present-Day German Televised Entertainment

这个子项目以文化人类学为基础，研究当今德国电视中“连续剧编剧”的职业世界。这个术语指的是一组不同的职业，负责从发展叙事弧线到撰写剧本和对话的广泛任务。这些领域的演员属于创意产业，这是一种以连续生产的必需品为标志的工作环境。这种情况对那些在其中行动的人提出了具体的挑战：个人的灵活性、多才多艺以及在压力下执行的能力。系列剧创作是在一个紧张的领域展开的，这个领域的特点不仅是集体创造力和电视制作的分工，而且还有个人创作光环的残留，以及全球化市场中雇佣劳动力的经济依赖。该分项目借鉴了关于工作和职业的人类学研究以及关于流行媒体和文学的跨学科研究，力求更深入地了解系列片制作，特别是在电视授权做法方面。在方法上，该分项目借鉴了文化人类学的经验方法，以记录个人/传记经验以及系列化生产的社会领域中更普遍的做法和技术。它试图从电视剧编剧的角度来理解电视剧，并通过对专业传记和参与者观察的采访，以及对教材、自我文件和对电视剧生产性质的虚构反思的分析，来追求这一目标。电视媒介将授权实践倍增为相互关联的系列组成部分，包括叙事、技术和表演维度。这些任务中的每一项都对创造性、手工和人际交往能力提出了要求，对于每一种类型的系列剧来说，不同的专业写作概况可能会汇集在一起。关于演员进入这个职业的经验数据和他们的职业轨迹提供了洞察力，让我们了解等级制度是如何出现的，他们是如何经历的，以及电视剧写作的不同子特征之间有什么区别。在研究股内，该分项目扩大了经验性的重点，从日常的观看Tatort(TP7)整合到德国电视连续剧写作的日常背景。在第一个研究阶段，研究组研究了德国低俗小说(Heftromane，TP6)和美国漫画(TP4)的作者身份；不同的授权做法在电视媒介中发展起来，但受另一种生产逻辑的制约。该分项目特别与第二个资助期的下列项目合作：TP-EG3，审查连载纪录片格式的制作方面；TP-KV3，将时间性作为连载世界建设的一个要素；TP-KV2，根据档案记录调查翻拍的制作过程，并为副文本的分析提供对比和比较点；TP-HG1，解决格式估值问题--这是一个令人关切的历史期刊布局问题，不亚于电视节目表和相应的作者费用。

Based in cultural anthropology, this subproject researches the professional world of "series writers" in present-day German television. This term refers to a differentiated set of professions which are responsible for a broad set of tasks ranging from the development of narrative arcs to the composition of scripts and dialogues. Actors within these fields belong to the creative industries, a work context marked by the necessities of serial production. This context poses specific challenges to those acting within it: individual flexibility, versatility, and the capacity to perform under pressure. Series writing unfolds in a field of tensions characterized not only by collective creativity and the divided labor of television production, but also by remnants of the aura of individual authorship, and the economic dependencies of wage labor within a globalized market. Drawing from anthropological research on work and professions as well as interdisciplinary research on popular media and literature, the subproject seeks a deeper understanding of serial production, particularly in terms of authorization practices in television. Methodologically, the subproject draws on the empirical methods of cultural anthropology to document both individual/biographical experiences and the more general practices and techniques within the social field of series production. It seeks to understand television series from the perspective of those writing them and pursues this goal in combining interviews on professional biographies and participant observation with the analysis of teaching materials, ego-documents and fictionalized reflections on the nature of series production. The medium of television multiplies authorization practices into interlocking serial components that include narrative, technical, and performative dimensions. Each of these tasks makes demands on creative, artisanal and interpersonal competencies, and for each type of series divergent professional writing profiles may come together. Empirical data regarding actors' entry into the profession and their career trajectories provide insights into how hierarchies emerge, how they are experienced, and what kind of distinctions are drawn between different sub-profiles of series writing. Within the Research Unit, the subproject broadens the empirical focus from the quotidian integration of viewing Tatort (TP7) to the everyday context of series writing for German television. During the first research phase, the Research Unit looked at authorship in German pulp novels (Heftromane, TP6) and American comics (TP4); different authorizing practices, subject to another logic of production, have developed in the medium of television. The subproject cooperates particularly with the following projects of the second funding period: TP-EG3, which examines production aspects of serialized documentary formats; TP-KV3, which is concerned with temporality as an element of serial world building; TP-KV2, which investigates production processes of remakes on the basis of archival records and offers points of contrast and comparison for the analysis of paratexts; and TP-HG1, which addresses the valuation of formats – a matter of concern for the layout of historical periodicals no less than for television schedules and the corresponding authors' fees.