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УДК 008
ББК 71.4
DOI: 10.30628/1994-9529-2019-15.1-139-154

Institute of Law and National Security affiliated with the Russian
Academy of National Economy
and Governmental Administration
of the President of the Russian Federation,
The Moscow Academy of the Investigation Committee
of the Russian Federation
Moscow, Russia
ORCID: 0000-0001-8811-5555
e-mail: jesuisbon@yandex.ru



Abstract. The peripheries of the spectacle, the text, and the peritext (covers, posters of films, teasers, trailers, announcements and other signs of finishing work) is fully involved in the preparation of the recipient, in the development of the mood which precedes the act of reception. The redundancy of modern information endows the periphery of a work of art with a very important functional load. The valorization of intrigue and the tension of narrative associated with it are the most important elements of narration which generate interest and control the attention of the audience. At the same time, narrative tension acts as a kind of pledge for narrative productivity and, therefore, possesses economic value, always very significant in the culture of mass entertainment. In this aspect, for example, the fear of spoilers (spoilerphobia) to a large extent becomes a basis. The spoiler and the teasers act as communicative practices which implement new forms of interaction with the audience. The teaser is involved in the creation of intrigue, while the spoiler destroys it, but both of them are related communicatively and semantically with the charm by the novelty of the product and the interest of the recipients. In addition, the spoiler, presenting a variety of communicative coercion, presents a problem for new media and the relatively new forms of narration, suggesting a long involvement in the process of reception of artistic productions. Although the narrative of the series itself creates a field mapping, the teaser is intended here to implement two communicative strategies: to introduce a new element (what would be aired in the upcoming episode) and to demonstrate the serial affiliation of the episode to the overall integral art of storytelling. The relative autonomous status of this part of the statement from the main narrative also provides additional opportunities for the implementation of some communicative strategies of artistic discourse. The position on the periphery of the text transforms the teaser into an experimental platform, in which it is possible to establish an ambivalent motion between discontinuity and the connectivity of the narrative. Consequently, the teaser is able to deviate considerably from the linear progress of the narrative. Along with the perspective/retrospective elements, it becomes possible to notice even more significant deviations, contrasting with the main product: teasers-parodies and a teaser which presents an additional separate story (a story within a story). The tendency to abandon the linearity of the narrative also makes it possible for us to presume the aspiration to complexify the artistic product.

Keywords: spoiler, teaser, the periphery of the text, the contract for reading, a place of uncertainty, preliminary perception, fascination, narrative tension, the intrigue, the linearity of the narrative that is the modern mass culture, genres, series, and communicative violence