The Artistic Truth of the Web Series

Dai Xiaoling; Kan Qing

doi:doi:10.11648/j.ajad.20200502.13

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The Artistic Truth of the Web Series

Dai Xiaoling, Kan Qing

Published in American Journal of Art and Design (Volume 5, Issue 2)

Received: 18 June 2020 Accepted: 4 July 2020 Published: 30 July 2020

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Abstract

In China, the popularity of the web series has soared over recent years. Web series are popular due to their technical characteristics, their flexible and intriguing narrative skills and the progression of cyberculture, which distinguish web series from traditional television programmes. However, these traits can also lead to some negative drawbacks, such as the lack of originality, the homogenisation of content, and the exaggeration and sensationalism of real-life situations. These problems are likely to put artistic truth of web series at risk, transforming them into endless homogeneous audio-visual products, thus affecting the artistic creativity of their visual images. The first section of this study explores the development of the web series by analysing external factors, including interactive modes, technical production and commercial investment. The second section focuses on the internal factors contributing to the transformation of the content of the web series. The final section investigates how these changes result in diminishing artistic truth of the web series. The paper concludes that technological innovations enable web series to produce more vivid experiences, and the extreme fantasies they create enable viewers to indulge their endless desires and become addicted to the virtual world, even making them reluctant to face the real world.

Published in	American Journal of Art and Design (Volume 5, Issue 2)
DOI	10.11648/j.ajad.20200502.13
Page(s)	39-44
Creative Commons	This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.
Copyright	Copyright © The Author(s), 2020. Published by Science Publishing Group

Keywords

Web Series, Artistic Truth, Desire, Reality, Simulacrum

References

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[2]	Qian Yu. (1999). Web Series - The Combination of the Internet and Drama. Guangdong: Guangdong Art, p41.
[3]	Feng Zongze. (2016). Research on the Mode of Creation and Communication Mechanism of Web Series. Beijing: Liberal Arts Press, p15.
[4]	Benjamin, W. (2012). The Work of Art in the Age of Mechanical Reproduction. New York: Prism Key Press, p7.
[5]	McGuire, D. (2006). Audience Analysis. Beijing: Renmin University of China Press, p144.
[6]	Bazin, A. (1960). The Ontology of the Photographic Image. University of California Press, p7.
[7]	The release of 2019 China Research Report on Network Audiovisual Development. https://www.sohu.com/a/316802357_728306. 2019.
[8]	He Jianhua. (2018). Marx's criticism of capital logic and its contemporary value. Zhejiang Social Sciences. p100.
[9]	Marx, K. and Engels, F. (2014). Manuscript of Economics and Philosophy in 1844. New York: Prometheus Books. p76.
[10]	James H. Gilmore, B. Joseph Pine II (2007). Authenticity: what consumers really want. Boston: Harvard Business School Press, p14.
[11]	Bourdieu, P. (1997). The Field of Cultural Production. The UK: Columbia University Press. p36.
[12]	Wang Fen (2014). Grassroots Culture and Modern Media——Taking Film and Television Culture as an Example. Beijing: China Financial Publishing House. p7.
[13]	Anderson, C. (2008). Long Tail，Why the Future of Business is Selling Less of More. The revised and updated edition，Hyperion. p82.
[14]	Lacan, J. (2006). Écrits, translated by Bruce Fink, New York: Norton. p681.
[15]	Baudrillard, J. (1994). Simulacra and Simulation, trans by Sheila Faria Glaser. America: University of Michigan Press. p87.
[16]	Baudrillard, J. (1994). Simulacra and Simulation, trans by Sheila Faria Glaser. America: University of Michigan Press. p7.
[17]	Debord, G. (2000). The Society of the Spectacle. Michigan: Black & Red Books. p14.
[18]	Baudrillard, J. (2000). Art and Artefact, edited by Nicholas Zurbrugg. London: Sage. p12.

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APA Style

Dai Xiaoling, Kan Qing. (2020). The Artistic Truth of the Web Series. American Journal of Art and Design, 5(2), 39-44. https://doi.org/10.11648/j.ajad.20200502.13

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ACS Style

Dai Xiaoling; Kan Qing. The Artistic Truth of the Web Series. Am. J. Art Des. 2020, 5(2), 39-44. doi: 10.11648/j.ajad.20200502.13

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AMA Style

Dai Xiaoling, Kan Qing. The Artistic Truth of the Web Series. Am J Art Des. 2020;5(2):39-44. doi: 10.11648/j.ajad.20200502.13

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@article{10.11648/j.ajad.20200502.13,
  author = {Dai Xiaoling and Kan Qing},
  title = {The Artistic Truth of the Web Series},
  journal = {American Journal of Art and Design},
  volume = {5},
  number = {2},
  pages = {39-44},
  doi = {10.11648/j.ajad.20200502.13},
  url = {https://doi.org/10.11648/j.ajad.20200502.13},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ajad.20200502.13},
  abstract = {In China, the popularity of the web series has soared over recent years. Web series are popular due to their technical characteristics, their flexible and intriguing narrative skills and the progression of cyberculture, which distinguish web series from traditional television programmes. However, these traits can also lead to some negative drawbacks, such as the lack of originality, the homogenisation of content, and the exaggeration and sensationalism of real-life situations. These problems are likely to put artistic truth of web series at risk, transforming them into endless homogeneous audio-visual products, thus affecting the artistic creativity of their visual images. The first section of this study explores the development of the web series by analysing external factors, including interactive modes, technical production and commercial investment. The second section focuses on the internal factors contributing to the transformation of the content of the web series. The final section investigates how these changes result in diminishing artistic truth of the web series. The paper concludes that technological innovations enable web series to produce more vivid experiences, and the extreme fantasies they create enable viewers to indulge their endless desires and become addicted to the virtual world, even making them reluctant to face the real world.},
 year = {2020}
}

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TY  - JOUR
T1  - The Artistic Truth of the Web Series
AU  - Dai Xiaoling
AU  - Kan Qing
Y1  - 2020/07/30
PY  - 2020
N1  - https://doi.org/10.11648/j.ajad.20200502.13
DO  - 10.11648/j.ajad.20200502.13
T2  - American Journal of Art and Design
JF  - American Journal of Art and Design
JO  - American Journal of Art and Design
SP  - 39
EP  - 44
PB  - Science Publishing Group
SN  - 2578-7802
UR  - https://doi.org/10.11648/j.ajad.20200502.13
AB  - In China, the popularity of the web series has soared over recent years. Web series are popular due to their technical characteristics, their flexible and intriguing narrative skills and the progression of cyberculture, which distinguish web series from traditional television programmes. However, these traits can also lead to some negative drawbacks, such as the lack of originality, the homogenisation of content, and the exaggeration and sensationalism of real-life situations. These problems are likely to put artistic truth of web series at risk, transforming them into endless homogeneous audio-visual products, thus affecting the artistic creativity of their visual images. The first section of this study explores the development of the web series by analysing external factors, including interactive modes, technical production and commercial investment. The second section focuses on the internal factors contributing to the transformation of the content of the web series. The final section investigates how these changes result in diminishing artistic truth of the web series. The paper concludes that technological innovations enable web series to produce more vivid experiences, and the extreme fantasies they create enable viewers to indulge their endless desires and become addicted to the virtual world, even making them reluctant to face the real world.
VL  - 5
IS  - 2
ER  -

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Author Information

Dai Xiaoling

School of Fine Arts, Nanjing Normal University, Nanjing, China
Kan Qing

School of Fine Arts, Nanjing Normal University, Nanjing, China

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APA Style

Dai Xiaoling, Kan Qing. (2020). The Artistic Truth of the Web Series. American Journal of Art and Design, 5(2), 39-44. https://doi.org/10.11648/j.ajad.20200502.13

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ACS Style

Dai Xiaoling; Kan Qing. The Artistic Truth of the Web Series. Am. J. Art Des. 2020, 5(2), 39-44. doi: 10.11648/j.ajad.20200502.13

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AMA Style

Dai Xiaoling, Kan Qing. The Artistic Truth of the Web Series. Am J Art Des. 2020;5(2):39-44. doi: 10.11648/j.ajad.20200502.13

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@article{10.11648/j.ajad.20200502.13,
  author = {Dai Xiaoling and Kan Qing},
  title = {The Artistic Truth of the Web Series},
  journal = {American Journal of Art and Design},
  volume = {5},
  number = {2},
  pages = {39-44},
  doi = {10.11648/j.ajad.20200502.13},
  url = {https://doi.org/10.11648/j.ajad.20200502.13},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ajad.20200502.13},
  abstract = {In China, the popularity of the web series has soared over recent years. Web series are popular due to their technical characteristics, their flexible and intriguing narrative skills and the progression of cyberculture, which distinguish web series from traditional television programmes. However, these traits can also lead to some negative drawbacks, such as the lack of originality, the homogenisation of content, and the exaggeration and sensationalism of real-life situations. These problems are likely to put artistic truth of web series at risk, transforming them into endless homogeneous audio-visual products, thus affecting the artistic creativity of their visual images. The first section of this study explores the development of the web series by analysing external factors, including interactive modes, technical production and commercial investment. The second section focuses on the internal factors contributing to the transformation of the content of the web series. The final section investigates how these changes result in diminishing artistic truth of the web series. The paper concludes that technological innovations enable web series to produce more vivid experiences, and the extreme fantasies they create enable viewers to indulge their endless desires and become addicted to the virtual world, even making them reluctant to face the real world.},
 year = {2020}
}

Copy | Download

TY  - JOUR
T1  - The Artistic Truth of the Web Series
AU  - Dai Xiaoling
AU  - Kan Qing
Y1  - 2020/07/30
PY  - 2020
N1  - https://doi.org/10.11648/j.ajad.20200502.13
DO  - 10.11648/j.ajad.20200502.13
T2  - American Journal of Art and Design
JF  - American Journal of Art and Design
JO  - American Journal of Art and Design
SP  - 39
EP  - 44
PB  - Science Publishing Group
SN  - 2578-7802
UR  - https://doi.org/10.11648/j.ajad.20200502.13
AB  - In China, the popularity of the web series has soared over recent years. Web series are popular due to their technical characteristics, their flexible and intriguing narrative skills and the progression of cyberculture, which distinguish web series from traditional television programmes. However, these traits can also lead to some negative drawbacks, such as the lack of originality, the homogenisation of content, and the exaggeration and sensationalism of real-life situations. These problems are likely to put artistic truth of web series at risk, transforming them into endless homogeneous audio-visual products, thus affecting the artistic creativity of their visual images. The first section of this study explores the development of the web series by analysing external factors, including interactive modes, technical production and commercial investment. The second section focuses on the internal factors contributing to the transformation of the content of the web series. The final section investigates how these changes result in diminishing artistic truth of the web series. The paper concludes that technological innovations enable web series to produce more vivid experiences, and the extreme fantasies they create enable viewers to indulge their endless desires and become addicted to the virtual world, even making them reluctant to face the real world.
VL  - 5
IS  - 2
ER  -

Copy | Download