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History of television research paper
History of television research paper
History of television research paper
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Originally published in Cinema Journal 40, No. 3, Spring 2001, Jason Mittell’s “A Cultural Approach to Television Genre Theory” conceives of television genre as a cultural category rather than merely a textual component. In the decade since the original publishing of the article, television has evolved out of the multi-channel era and into the post-network era. In this new television landscape, genres are no longer a fixed entity1, and there is great academic potential in the in the study of television genres. The text, Thinking Outside the Box: A Contemporary Television Genre Reader, aims to explore and analyze genre in the current television landscape, and the Mittell article, republished in the book, serves as an entry point to such scholarship.
Jason Mittell is an Associate Professor of American Studies and Film & Media Culture and Chair of the Film & Media Culture Department at Middlebury College in Vermont. His 2004 book, Genre and Television: From Cop Shows to Cartoons in American Culture is a more in-depth examination of television genre theory.
“A Cultural Approach to Television Genre Theory” argues that the application of film and literary genre theory do not fully translate when analyzing television, because of “the specific industry and audience practices unique to television, or for the mixture of fictional and nonfictional programming that constitutes the lineup on nearly every TV channel. 2” The goal of media genre studies, Mittell asserts, is to understand how media is arranged within the contexts of production and reception, and how media work to create our vision of the world.
Mittell’s argument for the examination of genre within a cultural context is useful, particularly when applied to post-network telev...
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...es Out’.” The A.V. Club, March 17. http://www.avclub.com/articles/lucky-louie-kim-moves-out,53266/
6 Zoller Seitz, Matt. 2011 “The Rough Magic of Louie.” Salon, August 25. http://entertainment.salon.com/2011/08/25/rough_magic_of_louie/
7 Nussbaum, Emily. 2011. “One-man Show.” New York Magazine, May 15. http://nymag.com/arts/tv/upfronts/2011/louis-ck-2011-5/ 8 Mittell, Approach, 43.
9 Mittell, Approach, 42.
10 Wilson, Stacey. 2011 “Top 50 Power Showrunners 2011.” The Hollywood Reporter, October 12. http://www.hollywoodreporter.com/lists/louis-ck-247392
11 Ellen Seiter and Mary Jeanne Wilson, “Soap Opera Survival Tactics”, in Thinking Outside the Box: A Contemporary Television Genre Reader (Lexington: The University Press of Kentucky, 2005), 138.
12 Mittell, Approach, 55.
13 Mittell, Approach, 56.
14 Mittell, Approach, 45.
15 Mittell, Approach, 37-38.
This essay will discuss how national attitudes towards the working-class and the impoverished are represented in American Television. The purpose of this paper is to comprehend that television shows are not solely designed to entertain consumers but also contain a hidden agenda whose task is to protect certain ideological perspectives and therefore constant framing strategies take place. The paper will commence the analysis by discussing how males and females are represented in the television show Friday Night Lights, secondly it will look at the
Television has always been an industry whose profit has always been gained through ads. But in chapter 2 of Jason Mittell’s book, Television and American Culture, Mittell argues that the rise of the profit-driven advertising television model can be traced back through American television history, and that the rise of the profit-driven advertising model of television actually helped to mold American culture both from a historical standpoint and from a social standpoint.
Rosenberg, Howard. "Television Reviews." Los Angeles Times (1923-Current File): 1. Feb 28 1989. ProQuest. Web. 28 Jan. 2014 .
Sander, Gordon F. Serling: The Rise and Twilight of Television's Last Angry Man. New York: Dutton/The Penguin Group, 1992.
5 Feb 2014. Fiske, John. The. Television Culture. London: Methuen & Co. Ltd, 1987: Ch. 78.
Barry, , Keith, and Grant, ed. Film Genre Reader III. Austin, TX: University of Texas Press,
Nelson, R. (2009). Modernism and Postmodernism in Television Drama. In: Creeber, G Televisions: An Introduction to Studying Televsion. 2nd ed. London: British Film Institute . p.90.
In her book, West of Everything, Jane Tompkins discusses the essential elements that define the genre. From her discussion, one can extract a working definition: the setting, th...
Defining a film genre is in some ways difficult and simplistic. Every genre has stated what would define its boundaries. The difficult part is finding one that is solidified by the movies in the genre. The stated definition that this paper will digest and regurgitate is that a Western is a film which is set in the American frontier west. The typical time setting is somewhere in the mid to late 19th century and early 20th century(Dirks, 1). They glorify the past-fading values and aspirations of the mythical by-gone age of the American West(Dirks, 1). Over time, however, Westerns have been redefined, re-invented and expanded, dismissed, re-discovered, and spoofed. This actually makes the definition more lucid, making other films flexible enough to fit quite nicely into the genre.
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
Both articles have different purposes yet tackle the same ideology, which is genre. It is understood from analysis of them that we are slowly loosening ties on what a genre is and becoming a much wider concept. We assume that success means cultural importance however they are not a decent representation of the quality of consumption. Through the articles it can be assumed that both authors are uncertain to the way in which Genre specifics are headed and demand for awareness and further accuracy and thought when it comes to creating more labels under genres.
Vande Berg, L.R., Wenner, L.A., & Gronbeck, B. E. (1998). Critical Approaches to Television. Boston: Houghton Mifflin Company.
For example, while soap operas tend to be exceedingly sensational and over the top, most comedies gloss over the terrible things that may befall a family. Gritty crime shows and other dramas try to portray families more accurately, but still must follow certain rules. For this reason, dramas still tend to be unrealistic. The recent rise of popular cable television programs highlight key content regulations that contribute heavily to inaccurate family portrayals and ultimately, the broadcast networks’ decline.
"Before I saw Neighbours, I didn’t know there was an Australia" (Jerry Hall, The Clive James Show, UK, 31 December, 1989) The soap opera genre originated in American radio serials of the 1930s, and owes the name to the sponsorship of some of these programs by major soap powder companies. Proctor and Gamble and other soap companies were the most common sponsors, and soon the genre of 'soap opera' had been labeled. Like many television genres (e.g. news and quiz shows), the soap opera is a genre originally drawn from radio rather than film. Television soap operas are long-running serials traditionally based on the close study of personal relationships within the everyday life of its characters. Soaps are a consistent set of values based on personal relationships, on women’s responsibility for the maintenance of these relationships and the applicability of the family model to structures. In soap operas at least one story line is carried over from one episode to the next. Successful soaps may continue for many years: so new viewers have to be able to join in at any stage in the serial. In serials, the passage of time also appears to reflect 'real time' for the viewers: in long-running soaps the characters age as the viewers do. Christine Geraghty (1991, p. 11) notes that 'the longer they run the more impossible it seems to imagine them ending.' There are sometimes allusions to major topical events in the world outside the programs. Soap operas have attempted to articulate social change through issues of race, class and sexuality. In dealing with what are often perceived to be awkward issues soap operas make good stories along the emotional lines of the characters. Christine Geraghty (1991, p. 147) ‘While it seeks...
In a genre analysis, stories, issues and concerns are explored. Researchers who study genre focus on broad patterns within those texts in the genre (Brennen 204). Since my research involves studying sitcoms, my sample will consist of ten popular sitcoms that aired from the 1980s to the present. These sitcoms include Roseanne, 30 Rock, The Fresh Prince of Bel-Air, I Love Lucy, It’s Always Sunny in Philadelphia, Friends, Will and Grace, Cheers, The Simpson and Seinfeld. The reason why I am choosing this sample is because I believe that it is broad enough to display the growth and evolution of the situational comedy genre and most (if not, all) of its pertinent aspects. Each of these shows all fit the standard conventions of a sitcom, however, the each bring a something different to the program, which allows them to stand out and be successful. I also chose them because they are all listed on the Rolling Stones top 100 Greatest TV Shows of All Time. This list was gathered by actors, writers, producers, critics and showrunners in the television industry (Sheffield,