DOCSLIB.ORG

Television Victoria O'donnell

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Television Victoria O'donnell TELEVISION To Paul, spouse, partner, and friend, whose creativity and scholarship I admire. I also dedicate this book to my granddaughter Elizabeth Helen Stupp, who brings me so much joy. Finally, I wish to include my two dogs, Argus and Coco, in this dedication because they lay at my feet while I wrote this book, patiently waiting until I finished so we could go outside and play. VICTORIA O'DONNELL MONTANA STATE UNIVERSITY I ~ ~~~~o~.~e~~e!~~~~ Copyright © 2007 by Sage Publications, Inc. All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the publisher. For information: Contents Sage Publications, Inc. Sage Publications India Pvt. Ltd. ~ 2455 Teller Road B 1/1 1 Mohan Cooperative Thousand Oaks, Industrial Area California 91320 Mathura Road, New Delhi 110 044 E-mail: [email protected] India Introduction Xlll Sage Publications Ltd. Sage Publications Asia-Pacific Pvt. Ltd. 1 Oliver's Yard 33 Pekin Street #02-01 55 City Road Far East Square PART I: ORIENTATION London ECIY ISP Singapore 048763 Chapter 1. The Work of the Critic United Kingdom 3 PN Introduction 3 Printed in the United States of America I,1992.8 The Ends of Criticism 4 Journalistic Television Criticism 4 Library of Congress Cataloging-in-Publication Data ·e7 The Critical Stance 6 l033 Criticism and Culture 8 O'Donnell, Victoria. Television criticism I Victoria O'Donnell. 2007 Narrative and Contextual Reality 9 Critical Categories and Critical Choices 13 p. em. 1 Includes bibliographical references and index. ! The Business of Television 15 ISBN-13: 978-1-4129-4166-2 (cloth) The Familiar and the Unfamiliar in Television 16 ISBN-13: 978-1-4129-4167-9 (pbk.) Critical Orientation 17 1. Television criticism. 2. Television criticism-United States. 1. Title. Summary 18 PNI992.8.C7033 2007 Exercises 19 791.45-dc22 Suggested Readings 20 2006032000 Chapter 2. Demystifying the Business of Television 21 Printed on acid-free paper Introduction 21 The Role of Advertising, Ratings, and Schedules 22 07 08 09 10 11 10 9 8 7 6 5 4 3 2 1 Advertising 22 Acquiring Editor: Todd R. Armstrong Ratings 22 Editorial Assistant: Katie Grim Categories of Ratings 24 Production Editor: Sarah K. Quesenberry Ratings and the Cost of Advertising 25­ Marketing Associate: Amberlyn M. Erzinger The Sweeps 26 Copy Editor: Bill Bowers Why Television Shows Get Renewed or Canceled 27 Proofreader: Kevin Gleason Indexer: Ellen Slavitz Shortcomings of the Nielsen Rating System 28 Typesetter: C&1\-f Digitals (P) Ltd. Ratings in the Summer 28 Cover Designer: Edgar Abarca o,. ,,!~:! l c .,<:.~d The Strategies of Television Advertising 29 The Nature of Narrative 73 Product Promotion Within Television Programs 30 Narrative Theories 74 Product Placement 30 Aristotle's Narrative Theory 74 Scheduling and Advertising 32 Propp's Narrative Theory 75 Noncommercial Channels 34 Bartbes's Narrative Theory 75 The Production of a Television Show 34 Narrative Structure 77 Production Houses 34 Intertextuality 79 Pilots and the "Pitch" 35 Characters 80 The Production Team 37 Archetypes 83 The Producer 37 Myth 85 Writers 38 Structural Analysis of Myth 88 The Writer's Treatment 40 Close Analysis of Narrative Structure 92 Directors 41 Summary 92 Casting 42 Exercises 93 Putting a Show Into Production 43 Suggested Readings 94 Summary 45 Exercises 46 Chapter 5. Television Genres 95 Suggested Readings 48 Introduction 95 Television Genre, Production, and Scheduling 97 PART II: FORMAL ASPECTS OF TELEVISION The Rules for Classifying Genres 97 Genre and Television Criticism 99 Chapter 3. Television Style 51 Comedy 100 Introduction 51 Situation Comedy 100 Length of Shot and Framing 52 Animated Situation Comedy 110 Multi-Camera Production 54 Variety Comedy 112 Reaction Shots 54 Talk Shows 112 Lighting 55 Nighttime Talk Shows 112 Production on Film Versus Digital Video 56 Daytime Talk Shows 113 Style, Reception, and Digital Video Practices 57 Information Talk Shows 114 Modes of Presentation 59 News 114 Television Sound and Editing 60 National and World News 115 Production Styles 61 Local News 115 Art Direction 62 News-Talk 116 , The Split Screen 64 24-Hour News 117 Directors 65 Magazine Shows 117 Actors 66 News-Talk-Entertainment 117 Summary 66 Investigative or Public Affairs 118 Exercises 67 Celebrity News 119 Suggested Readings 68 Drama 119 Chapter 4. Television, the Nation's Storyteller 69 Crime Shows (Detective, Police, FBI, Introduction 69 and Forensic Science) 120 Storytelling and the Human Condition 70 Workplace Drama 121 ••iL.•.. Family Drama 123 Television Representation 165 Hybrid Drama 123 Interpreting Representation 165 Teleplays and Telefilms 124 Reception of Televisual Images 166 Docudrama 125 Symbols 168 Soap Opera 125 The Illusion of Reality 168 Science Fiction 127 The Need for Images 169 Reality Shows 127 Representation of the "Other" 170 Sports 128 Advice for Television Critics 174 Children's Television 129 Representation and Collective Memory 176 Game Shows 129 Summary 177 Other Genres 130 Exercises 178 Summary 131 Suggested Readings 180 Exercises 132 Chapter 8. Postmodernism Suggested Readings 133 181 Introduction 181 The Emergence of New Technologies 182 PART ill: THEORETICAL APPROACHES Postmodernism Defined 183 TO TELEVISION CRITICISM Postmodern Television 185 Chapter 6. Rhetoric and Culture 137 MTV 188 Introduction 137 MTV's Influences 190 Rhetoric 138 Postmodern Theories 191 Classical Rhetoric 140 Summary 194 Rhetoric Over the Ages 141 Exercises 195 Intentionality 142 Suggested Readings 196 The Symbolic Nature of Rhetoric 142 The Rhetoric of Kenneth Burke 143 PART IV: CRmCAL APPLICATIONS Television Rhetoric 145 Chapter 9. Guidelines for Television Criticism Rhetoric and Values 147 199 Introduction 199 Cultural Studies 149 Critical Orientation 200 British Cultural Studies 151 Story and Genre 201 Power, Ideology, and Hegemony 152 Organization 203 Hall's Encoding/Decoding Model 154 Opening Segment 204 The Codes of Television Production 156 Decoding and Pleasure 158 The Structure of the Program 205 Demographics 205 Summary 159 Context 206 Exercises 161 Suggested Readings in Rhetoric 162 The Look of the Program and Its Codes 207 Analysis 209 Suggested Readings in Cultural Studies 162 Judgment 211 Chapter 7. Representation and Its Audience 163 Writing Television Criticism 212 Introduction 163 Summary 213 What Is Representation? 164 ;~ Chapter 10. Sample Criticism of a Television Program: CSI: Crime Scene Investigation 215 Introduction 215 Thesis 215 Purpose 216 Description of CSI 216 Acknowledgments Description of the Episode 217 Production Information 217 Questions for Analysis 219 Analysis and Interpretation 221 Visual Style 221 ara Miller McCune, former president of Sage Publications, encouraged Visual Credits 222 me to write this book a long time ago. Margaret Seawell, former editor Story and Substance 224 S at Sage Publications, patiently waited for me to finish it. Todd Armstrong, Hermeneutic Code 226 current editor at Sage, saw me through the book's completion with many Representation 229 helpful suggestions. Professors Barbara Baker of Central Missouri State Viewer Involvement 230 University and Peter Lev of Towson State University offered many valuable Summary 230 recommendations in their reviews of my manuscript. Sarah Quesenberry, Suggested Readings 231 production editor at Sage Publications, has been a jewel. She received and assembled the parts of this book, kept me up to date on its progress, was References 233 always timely in responding to my questions, and she generously acquired the photos for this book. Bill Bowers was the copyeditor. I wish to express Index 247 my sincere gratitude to all of you. 261 I About the Author This book could not have been written without the hundreds of students who took my film and television criticism classes and who wrote graduate 1 theses and dissertations about film and television under my direction. They were a joy to teach and to join in discussions about films and television pro­ 111 grams. It pleases me so much that many of them still stay in touch with me. I'II' I also wish to thank my friends Patricia Hill, camera operator for M*A *S*H, Cheers, Frasier, Caroline in the City, and The New Adventures II of Old Christine, and Jeff Meyer, director for Coach, Everybody Loves Raymond and Yes, Dear, for introducing me to their writers, directors, and producers and for letting me sit in on television program run-throughs and taping. They also provided very useful information about the television !~ business. I am also grateful to the directors at the Museum of Television and 1 Radio, who allowed me to spend many hours in both their locations, New 1 (1\ York City and Beverly Hills, viewing tapes of their television seminars with " I professionals. I -I II " xi xii Television Criticism I I, II I have dedicated this book to Paul Monaco, but I also wish to acknowl­ edge his valuable contribution to it. He coauthored Chapter 3, "Television Style," which reflects his professional experiences as a film and video creator and educator. Introduction Television presents the new American Dream. -Ron Howard on Today, 24 March 1999 ears ago, when my youngest son came home from a day at the YMontessori kindergarten, he watched late-afternoon television shows. I discussed this with his teacher who said not to worry. "He does stimulat­ ing activities in school, so when he comes home, he just wants to relax by I watching television," she said. Of course, we all use television to relax. We , I laugh at the comedies and watch crimes get solved. Even shows that would II not seem to be relaxing, such as the grisly CSI: Crime Scene Investigation, comfort us because we see good triumphing over evil. We can enjoy vicari­ I ous experiences by watching reality shows, see how other people live on the III talk shows, find out what is news, check the weather, and keep up with .1 sports on the news shows and channels, stay informed through public affairs programs, and get new recipes on the food channels.
Load more

Recommended publications
  • BRIDGING MEDIA-SPECIFIC APPROACHES the Value of Feminist Television Criticism’S Synthetic Approach
    BRIDGING MEDIA-SPECIFIC APPROACHES The value of feminist television criticism’s synthetic approach Amanda D. Lotz and Sharon Marie Ross Introduction Feminist study of media encompasses a variety of media forms, each of which possesses a distinct set of issues determined by the medium and how it is used, as well as by the variant theoretical and methodological traditions through which scholars have studied the medium. US feminist film and television criticism have maintained distinct methodological and theoretical emphases—yet the two areas of study are closely related. For example, feminist television studies developed from a synthesis of theoretical and methodological work in a range of fields, including feminist film criticism and theory, and remains at once connected to and distinct from feminist approaches to studying film. The commercial dominance of the US television system required that feminist television critics explore the “popular” to a degree less evident in US feminist film criticism, although feminist film critics have examined mainstream film texts with tools similar to those used by feminist television critics in other national contexts (Joanne Hollows 2000; Jacinda Read 2000; Yvonne Tasker 1993, 1998). Understanding the relationship between varied areas of feminist media scholar- ship—their necessary divergences and their commonalities—aids in developing increasingly sophisticated theory and in responding to technological, socio-cultural, and theoretical changes. The transition to digital formats and hybrid delivery systems has begun to alter traditions of both “film” and “television,” while postfeminist approaches have reinvigorated feminist media debates. Additionally, new media have established a place in popular use and academic criticism. This context makes it more crucial than ever to address the reasons for medium-specific feminist approaches as well as to consider what can be gained through shared conversations.
    [Show full text]
  • The Work of the Critic
    CHAPTER 1 The Work of the Critic Oh, gentle lady, do not put me to’t. For I am nothing if not critical. —Iago to Desdemona (Shakespeare, Othello, Act 2, Scene I) INTRODUCTION What is the advantage of knowing how to perform television criticism if you are not going to be a professional television critic? The advantage to you as a television viewer is that you will not only be able to make informed judgment about the television programs you watch, but also you will better understand your reaction and the reactions of others who share the experience of watching. Critical acuity enables you to move from casual enjoyment of a television program to a fuller and richer understanding. A viewer who does not possess critical viewing skills may enjoy watching a television program and experience various responses to it, such as laughter, relief, fright, shock, tension, or relaxation. These are fun- damental sensations that people may get from watching television, and, for the most part, viewers who are not critics remain at this level. Critical awareness, however, enables you to move to a higher level that illuminates production practices and enhances your under- standing of culture, human nature, and interpretation. Students studying television production with ambitions to write, direct, edit, produce, and/or become camera operators will find knowledge of television criticism necessary and useful as well. Television criticism is about the evaluation of content, its context, organiza- tion, story and characterization, style, genre, and audience desire. Knowledge of these concepts is the foundation of successful production. THE ENDS OF CRITICISM Just as critics of books evaluate works of fiction and nonfiction by holding them to estab- lished standards, television critics utilize methodology and theory to comprehend, analyze, interpret, and evaluate television programs.
    [Show full text]
  • The Place of Voiceover in Academic Audiovisual Film and Television Criticism
    EUROPEAN JOURNAL OF MEDIA STUDIES www.necsus-ejms.org The Place of Voiceover in Academic Audiovisual Film and Television Criticism Ian Garwood NECSUS 5 (2), Autumn 2016: 271–275 URL: https://necsus-ejms.org/the-place-of-voiceover-in- audiovisual-film-and-television-criticism Keywords: audiovisual essay, criticism, film, television, voiceover The line between academic and non-scholarly video- graphic film criticism The production of The Place of Voiceover in Academic Audiovisual Film and Television Criticism (2016) coincided with the release of two books focused on videographic film studies: The Videographic Essay – Criticism in Sound and Image, edited by Christian Keathley and Jason Mittell;[1] and Film Studies in Motion: From Audiovisual Essay to Academic Research Video, by Thomas van den Berg and Miklos Kiss.[2] The most recent instalments in a rich vein of writing exploring the potential of audiovisual research within screen stud- ies,[3] these two works set out distinctive (audio)visions of the format. A NECSUS – EUROPEAN JOURNAL OF MEDIA STUDIES shared point of deliberation is the balance the ‘academic’ video essay should strike in its adherence to traditional scholarly virtues and its exploration of the audiovisual form’s more ‘poetic’ possibilities. Essentially, Keathley and Mittell encourage film studies academics to loosen up; they begin with a description of editing exercises that invite participants to play with sounds and images in ways to help them ‘unlearn’ their usual habits of academic research and presentation. Van den Berg and Kiss, by contrast, argue po- lemically for a considerable tightening of practice in video essay work, if it is to be considered academically credible.
    [Show full text]
  • THE Permanent Crisis of FILM Criticism
    mattias FILM THEORY FILM THEORY the PermaNENT Crisis of IN MEDIA HISTORY IN MEDIA HISTORY film CritiCism frey the ANXiety of AUthority mattias frey Film criticism is in crisis. Dwelling on the Kingdom, and the United States to dem­ the many film journalists made redundant at onstrate that film criticism has, since its P newspapers, magazines, and other “old origins, always found itself in crisis. The erma media” in past years, commentators need to assert critical authority and have voiced existential questions about anxieties over challenges to that author­ N E the purpose and worth of the profession ity are longstanding concerns; indeed, N T in the age of WordPress blogospheres these issues have animated and choreo­ C and proclaimed the “death of the critic.” graphed the trajectory of international risis Bemoaning the current anarchy of inter­ film criticism since its origins. net amateurs and the lack of authorita­ of tive critics, many journalists and acade­ Mattias Frey is Senior Lecturer in Film at film mics claim that in the digital age, cultural the University of Kent, author of Postwall commentary has become dumbed down German Cinema: History, Film History, C and fragmented into niche markets. and Cinephilia, co­editor of Cine-Ethics: riti Arguing against these claims, this book Ethical Dimensions of Film Theory, Prac- C examines the history of film critical dis­ tice, and Spectatorship, and editor of the ism course in France, Germany, the United journal Film Studies. AUP.nl 9789089647177 9789089648167 The Permanent Crisis of Film Criticism Film Theory in Media History explores the epistemological and theoretical founda- tions of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory.
    [Show full text]
  • Some Notes on Feminist Television Criticism
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Hertfordshire Research Archive McCABE/AKASS 1 Feminist Television Criticism: Notes and Queries. Janet McCabe and Kim Akass Introduction Our paper concentrates on the feminist inquiry into television. Never monolithic, the wide-ranging and complicated knowledges produced by feminism since the seventies is quite remarkable, reliant upon diverse aims, separate objectives and different intellectual concerns. This contribution charts feminist research while thinking about how the socio-historical, political and cultural contexts shaped what was said and how it was said. Conceived in the politically radical context of the women‟s liberation movement, and at an historical time in North America and Europe where women were lobbying for changes in legislation, initial feminist interest in television was, in the words of Charlotte Brunsdon, Julie D‟Acci and Lynn Spigel, a call „to action growing out of a deep conviction that women‟s oppression was very much related to mass media representations and that change was not only urgent, but possible.‟1 Raising awareness about how patriarchal ideology excluded, silenced and oppressed women would indelibly mark thinking about the processes and practices that produced ideas about what it means to be a woman in culture. Shaping scholarship was the guiding principle that gender is nothing more than a socially constructed phenomenon, rather than some immutable state of being conditioned by biology. Judith Butler in the nineties went further to question the male/female binary, advocating that even the sexed body was culturally formed.2 Her view that both gender and sex were nothing more than cultural constructions, performances to be repeated, and subject to McCABE/AKASS 2 regulatory norms rather than something natural would impact tremendously on thinking about how gender gets produced and circulated on television.
    [Show full text]
  • 219 Film and Television
    http://www.avc.edu (661) 722-6300 Film and Television 219 Definition students seeking fulfillment of general education requirements The popular culture of the twentieth century is forever marked for a degree program; and students wishing to gain specific by the amazingly rapid advancements in the mediums of film skills and knowledge in order to pursue careers in the film and and television. We have become a civilization influenced by television industry. visual images as they link with the ancient art of storytelling. Studying Film and Television teaches us how our lives have been, and continue to be, informed and shaped by these powerful Career Options Anchor mediums. Assistant Director Audio Operator Staff Boom Operator To access faculty and staff, dial (661) 722-6300, then the 4-digit Director extension. Director of Photography Dean: Film/Video Editor Duane Rumsey ext. 6385 Field Production Producer Administrative Assistant: Film Librarian Tangie Hunter ext. 6385 Floor Manager Clerical Assistant III: Grip position vacant ext. 6385 Independent Film/Videomaker Department Chair: Instructor Lisa Karlstein ext. 6534 Lighting Director Adjunct Faculty: Line Producer To access adjunct faculty voice mail, dial 722-6300, then the 4-digit Media Consultant number. Movie Reviewer V.M. Producer David Lewis 2463 Production Assistant Kevin North 2969 Production Coordinator Matthaeus Szumanski 2016 Screenwriter Alissa Welsch 2124 Script Supervisor Stage Manager Program Description Studio Camera Operator The course offerings fall into two categories: film/television Technical Director history and theory, and film/video production. Both areas are Video Artist designed to build specific skills upon a strong foundation of Videographer general knowledge of film and television production.
    [Show full text]
  • Download Article (PDF)
    Advances in Social Science, Education and Humanities Research, volume 205 The 2nd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2018) Study on Film and Television Literature Criticism Xinxin Li Henan Vocational College of Agriculture Zhengzhou, China 451450 Abstract—The emergence of film and television literature system of criticism. At present, the limitations of film and criticism is inextricably linked with the historical development television theory in criticizing practice and the of film and television. Film and television literature criticism individualization of criticizing methods all affect the sound can be said to run through every stage of the film and development of film and television literature criticism to a television development in the world. The establishment of certain extent. Therefore, the construction of film and interactive relationship among the fields of technological television literature criticism is not groundless. It is the trend system, art form and social structure of film and television will of history. Also, it is the real needs. be helpful to open up the research field of film and television literature criticism. Also, it also benefit from the overall Broadly speaking, film and television literature criticism development, enrichment and improvement of film and can refer to all the writing related to film and television television literature criticism. It is a discipline independently. works and the arts. And it includes various popularized film And it will inevitably call for formal consideration of its own review such as the criticism on newspapers and magazines, characteristics, functions, the subject and object, viewpoint, the interactive criticism between the television media and the paradigm and text type.
    [Show full text]
  • Television & Video Production
    TELEVISION & VIDEO PRODUCTION BACHELOR OF ARTS SCHOOL OF COMMUNICATION & JOURNALISM From concept to completed content, the Television REQUIRED COURSEWORK: 39 HRS and Video Production major teaches the theory and CMN 1500 - Television & Video Development practice of producing televisual, video, and filmic DGT 2123 - Introduction to Digital Photography content in narrative, persuasive, and reality-based THA 2244 - Acting I forms. Students hone their visual, audio, and written CMN 2375 - Practical Experience (1 credit with approved communication skills in a variety of media courses campus shooting/editing organization) and practical experiences that focus on developing, CMN 2500 - Production I shooting, editing, promoting, and performing CMN 2520 - Introduction to Mass Communication in, television and video content. From cinematic CMN 2550 - Audio Production & Voice Work I productions to live broadcasts, this major provides a CMN 3030 - Promotional Communication CMN 3050 - Production II comprehensive practical overview of all production CMN 3530 - Film Communication elements in a wide variety of television, film, and video CMN 3540 - Production III genres and formats. CMN 4275 - Internship OR WHAT CAREERS CAN I PURSUE WITH A CMN 4375 - Practicum (3 hours with WEIU-TV TV & VIDEO PRODUCTION DEGREE? or approved organization) • Producer CMN 4540 - Production IV • Director CMN 4770 - Television Criticism • Editor • Camera operator ELECTIVES: 12 HRS (6+6) • Audio engineer Students take a minimum of 6 hours from one of the Areas of Specialization (Narrative & Creative, Documentary & • Announcer News, or Commercial & Advertising). • Audio editor • Showrunner Students also select 6 hours from the Skills & Interests • Documentarian section which adds additional theoretical and technical • On-air talent development in a chosen area of production.
    [Show full text]
  • The Place of Voiceover in Academic Audiovisual Film and Television Criticism
    Garwood, I. (2016) The place of voiceover in academic audiovisual film and television criticism. NECSUS: European Journal of Media Studies This is the author’s final accepted version. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/131281/ Deposited on: 9 November 2016 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk The line between academic and non-scholarly videographic film criticism by Ian Garwood The production of The Place of Voiceover in Academic Audiovisual Film and Television Criticism (2016) coincided with the release of two books focused on videographic film studies: The Videographic Essay – Criticism in Sound and Image, edited by Christian Keathley and Jason Mittell;1 and Film Studies in Motion: From Audiovisual Essay to Academic Research Video, by Thomas van den Berg and Miklos Kiss.2 The most recent instalments in a rich vein of writing exploring the potential of audiovisual research within screen studies,3 these two works set out distinctive (audio)visions of the format. A shared point of deliberation is the balance the ‘academic’ video essay should strike in its adherence to traditional scholarly virtues and its exploration of the audiovisual form’s more ‘poetic’ possibilities. Essentially, Keathley and Mittell encourage film studies academics to loosen up; they begin with a description of editing exercises that invite participants to play with sounds and images in ways to help them ‘unlearn’ their usual habits of academic research and presentation.
    [Show full text]
  • Approaches to Visual Communication Media Criticism Reproductions
    DOCUMENT RESUME 'ED 380 087 IR 017 008 AUTHOR Metallinos, Nikos TITLE Approaches to Visual Communication Media Criticism and Their Application to Television Genres. PUB DATE [95] NOTE 21p.; In: Imagery and Visual Literacy: Selected Readings from the Annual Conference of the International Visual Literacy Association (26th, Tempe, Arizona, October 12-16, 1994); see IR 016 977. PUB TYPE Information Analyses (070) Speeches/Conference Papers (150) EDRS PRICE MFO1 /PCO1 Plus Postage. DESCRIPTORS Communication (Thought Transfer); *Criticism; Evaluation Methods; *Film Criticism; Foreign Countries; Graphic Arts; Literature Reviews; *Mass Media; *Television Viewing; Theories; Visual Arts; Visual Literacy IDENTIFIERS *Visual Communication ABSTRACT Several schools of thought regarding media criticism, derived from diverse disciplines and literary sources, have emerged during the last decade. To examine their application to the visual communication media arts such as film and television, this paper: (1) reviews the literature of media criticism;(2) discusses various approaches to visual communication media criticism; and (3) provides examples of the application of existing visual communication approaches to criticism. Discussion includes parameters of visual communication media arts, critical approach versus critical method, and selection of criteria for the evaluation of visual communication media arts. The following critical approaches and their applications are examined: journalistic; historical; sociological; rhetorical; narrative; cultural; semiological; psychological; ideological; genre; producer's; and visual literacy. It is suggested that the development of visual media criticism is directly related to and depends upon the development of verified theories of the various visual communication media arts. (Contains 74 references.) (MAS) *****************i.A;,*************************************************** * Reproductions supplied by EDRS are the best that can be made * from the original document.
    [Show full text]
  • Scholarship in Sound
    HT-50086 NEH Application Cover Sheet Institutes for Advanced Topics in the Digital Humanities PROJECT DIRECTOR Dr. Christian Keathley E-mail:[email protected] Associate Professor of Film & Media Culture Phone(W): (802) 443-3432 211 Axinn Center Phone(H): Middlebury College Fax: (802) 443-2805 Middlebury, VT 05753-6000 UNITED STATES Field of Expertise: Arts: Film History and Criticism INSTITUTION Middlebury College Middlebury, VT UNITED STATES APPLICATION INFORMATION Title: Scholarship in Sound and Image: Producing Videographic Criticism in the Digital Age Grant Period: From 6/2015 to 6/2015 Field of Project: Interdisciplinary: Media Studies; Arts: Film History and Criticism Description of Project: This two-week workshop, scheduled for June 2015, will gather scholars interested in producing critical work in a multi-media format. The workshop is designed for 12 participants, ranging in rank from advanced graduate students to full professors, whose objects of study involve audio-visual media, especially film, television, and other new digital media forms. In a workshop setting, we will consider the theoretical foundation for undertaking such innovative work, and we will experiment extensively with producing multi-media scholarly work, resulting in at least one work of publishable quality per participant. The goals will be to explore a range of approaches by using moving images as a critical language and to expand the expressive possibilities available to innovative humanists. The curriculum and work produced by the participants in
    [Show full text]
  • An Introduction to Television Studies Ebook Free Download
    AN INTRODUCTION TO TELEVISION STUDIES PDF, EPUB, EBOOK Jonathan Bignell | 360 pages | 06 Dec 2012 | Taylor & Francis Ltd | 9780415598170 | English | London, United Kingdom An Introduction to Television Studies PDF Book Television Studies This guide is an introduction to library and internet resources for Television Studies. Defining the field is problematic; some institutions and syllabuses do not distinguish it from media studies or classify it as a subfield of popular culture studies. Limitations of ethnography. British television in global contexts. Chicago: Fitzroy Dearborn, — Lucinda M. Competing for valuable audiences. Telly Awards These awards honor the best in regional, local and cable television commercials, programs and segments. You can use this index to find articles about television theory. You can still use BrowZine! Written by leading scholars in the field, this book is an internationally relevant, cutting-edge reassessment of both current methods and practices in television historiography and of assumptions about television history itself. Television studies. The Cosby Show. Encyclopedia of Television Pilots, by Vincent Terrace. Introductory reading s Critical dictionary of film and television theory by Roberta E. Film Literature Index. The awards recognize distinguished achievement and meritorious service by radio and television networks, stations, producing organizations, cable television organizations and individuals. Another impact of the disciplinary hybridity is the diversity in the types of studies carried out. Find the journals you like, create a custom Bookshelf, get ToCs and read the articles you want. The organisation of chapters. Programmes and forms. Culture industry Echo chamber Manifest and latent functions and dysfunctions Mediatization Opinion leadership Semiotic democracy Two-step flow of communication.
    [Show full text]