Serial Topolitics. Spatial Attitudes in Geopolitical Drama
DOI:
https://doi.org/10.60923/issn.2421-454X/22938Parole chiave:
political drama, spatiality, television aesthetics, territory, conflictAbstract
By examining the spatial attitudes of television series as modes of narratively and visually engaging with spatiality, this paper argues that the concept of topocracy should be understood as an attitude of geopolitical control over territory. Narratively, topocracy shapes the creation and resolution of conflict over the possession of space. Visually, it is expressed through a set of camera positions and the gaze of a dominant subject, enhanced by perceptual prostheses, such as surveillance cameras and drones. To illustrate the concept of topocracy, two television series will be analysed: The Gringo Hunters (2025-) and The Bridge (2013-2014). Both set along the United States–Mexico border, they display complementary spatial attitudes.
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TV Shows
24 (2001-2010)
Borgen (2010-2022)
Bosch (2014-2021)
The Bridge (2013-2014)
Bron/Broen (2011-2018)
Euphoria (2019-)
For All Mankind (2019-)
Friends (1994-2004)
The Gringo Hunters (2025-)
Homeland (2011-2020)
Pagan Peak (2019-2023)
Show Me a Hero (2015)
The Sopranos (1999-2007)
The Tunnel (2013-2018)
The Wire (2002-2008)
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Copyright (c) 2024 Luca Bandirali
Questo lavoro è fornito con la licenza Creative Commons Attribuzione 4.0 Internazionale.
