"КЛАН" - сценарио за играну криминалистичку ТВ серију, формат ongoing serial програма

Abstract

U svetu televizijskog programa, u današnje vreme, teško je zamisliti šta bi se novo moglo rećina planu serijalnog programa. U ovom radu ćemo putem analize raznih serijskih, kao i serijalnih programa, kako kod nas,tako i u svetu, istražiti dramsku strukturu serija, sličnosti u strukturi sa filmom i pozorištem,kao i osnovne razlike kako u diegetskom svetu, tako i u načinu pripovedanja. Dok se ovaj rad stvara, srpski serijski program doživljava najveću ekspanziju u svojoj istoriji. Serije su postale glavni dramski program i ako je sudeći po angažmanu glumaca, osvojile su u potpunosti ludički prostor Balkana. Postoji određeni broj serija koje su transkulturalne adaptacije Urgentni centar(2014-) je razvijen iz serije E.R (1994-2009), zatim Andrija i Anđelka (2015-) iz serije Un gars, una file (1999-2003), Los Serrano (2003-2008) su Sinđelići(2013-) , kao i ostatak serijskog programa koji je originalan, daje nam široku mogućnost istraživanja različitih žanrovskih obrazaca, kao i analizu regionalnih projekata, koji su pripremani po uzoru na neke skandinavske produkcije, srpska Besa (2018-) i švedsko- danski Most (2011-2108), kao i preuzimanjem franšize i njenim adaptiranjem za zemlje u regionu, već pomenuti Sinđelići i hrvatska adaptacija Horvatovi (2015-). Publika stvara različite fandom (fan domination) grupe, te nas to vodi do toga da se pozabavimo i samom publikom i njenim doprinosom razvoju same strukture. Na kraju, kao uvod u završeni scenario prvih pet epizoda, predstavićemo produkcionu bibliju, kao sažetak gotovog projekta, spremnog za ekranizaciju.

Nowadays in the world of television programming it is difficult to conceive what new could be said with respect to serial TV programme. Since the beginnings of television, the serial drama program was constantly present to a greater or lesser extent, but it was differently valued. This paper analyses various serial programs, produced both domestically in Serbia and abroad with an aim to examine the dramatic structure of series, similarities in structure with film and theatre, as well as basic differences both in diegetic worlds and in narratives of television, theatre and film. As this paper is drafted, the Serbian serial program is experiencing the greatest expansion in history. The series have became the programming cornerstone of every Serbian TV station and if observed against the backdrop of actors’ engagement, have completely conquered the ludic space of the Balkans. A certain number of these series are transcultural adaptations. Urgentni centar (2014-) was developed from E.R. (1994-2009), Un gars, una fille (1999-2003) was adapted into Andrija i Anđelka (2015-), while Los Serrano (2003-2008) are Sinđelići (2013-). Combined with the original serial programme, we are given an opportunity to research genre patterns from foreign markets when adapted to a new audience, alongside an analysis of regional projects, which are prepared based on the model of some Scandinavian productions, such is the case of the Serbian Besa (2018-) and Swedish-Danish The Bridge (Bron, Broen 2011-2018). The paper also considers franchises, which are spread and adapted regionally such as the above mentioned Serbian TV series Sindjelici and the Croatian derivate Horvatovi (2015-). The audience creates various fandom (fan domination) groups. For this reason, the paper also looks into the audience and its contribution to the development of the story structure itself. Finally, as an introduction to a completed script of the first five episodes, we will present the production bible, as a summary of the completed project.