Related Papers
The Television Reader: Critical Perspectives in Canadian and US Television Studies
Critical Approaches to the Study of TV - An Introduction
2013 •
Tanner Mirrlees
Cinema Journal
In Focus: The Place of Television Studies
2005 •
William Boddy
After The Break: Television Theory Today (introduction)
2013 •
Jan Teurlings
After The Break: Television Theory Today
Jan Teurlings
Watching Television- Hermeneutics, Reception and Popular Culture (Selected Sections).pdf
Tony Wilson
Watching Television (1993, 1995) discusses philosophical fundamentals in a hermeneutic or interpretative approach to television audience studies. A philosophical ‘horizon of understanding‘ (Gadamer, 1975) is an embodied cultural perspective from where the world is meaningful (makes sense) or understood as generic - apple, mall, programme - a place of tacit assumption, anticipation and subsequent articulation of narrative when appropriate. Consumers can appropriate cultural horizons in identifying with characters - or distance themselves in criticism. Hermeneutic theory anticipated reception (e.g Iser) and practices analysis.
European Journal of Cultural Studies
What is the ‘Television’ of the European Journal of Cultural Studies? Reflections on 20 years of the study of television in the Journal
christine geraghty
Over 20 years, the European Journal of Cultural Studies has been an important resource for those writing and thinking about television, and this article reflects on the rich material contained in the long run of issues published since 1998. As part of ‘On the Move’, the Special Issue to mark the 20th anniversary of the journal, it also introduces the special online dossier of articles on television. It offers an impressionistic reflection on the author’s experiences of engaging with work on television as it has appeared in this journal. In homage to Raymond Williams, that great writer about television (and much else), this article focuses on three key words which seem crucial to this enterprise – journal, television and European.
Television and the popular: viewing from the British perspective
Jonathan Bignell
The academic discipline of television studies has been constituted by the claim that television is worth studying because it is popular. Yet this claim has also entailed a need to defend the subject against the triviality that is associated with the television medium because of its very popularity. This article analyses the many attempts in the later twentieth and twenty-first centuries to constitute critical discourses about television as a popular medium. It focuses on how the theoretical currents of Television Studies emerged and changed in the UK, where a disciplinary identity for the subject was founded by borrowing from related disciplines, yet argued for the specificity of the medium as an object of criticism. Eschewing technological determinism, moral pathologization and sterile debates about television's supposed effects, UK writers such as Raymond Williams addressed television as an aspect of culture. Television theory in Britain has been part of, and also separate from, the disciplinary fields of media theory, literary theory and film theory. It has focused its attention on institutions, audio-visual texts, genres, authors and viewers according to the ways that research problems and theoretical inadequacies have emerged over time. But a consistent feature has been the problem of moving from a descriptive discourse to an analytical and evaluative one, and from studies of specific texts, moments and locations of television to larger theories. By discussing some historically significant critical work about television, the article considers how academic work has constructed relationships between the different kinds of objects of study. In the article, the aim is not to arrive at a definitive meaning for "the popular" inasmuch as it designates programmes or indeed the medium of television itself. Instead the aim is to show how, in historically and geographically contingent ways, these terms and ideas have been dynamically adopted and contested in order to address a multiple and changing object of analysis.
A Sociological Analysis of Television
Journal ijmr.net.in(UGC Approved)
New genres of programmes appeared on French televisionin the 2000s. They shaped people's relations to entertainment, and to a certain extent the nature of their interests. TVredefined itself under the influence of foreign channels. Until then, France had harshly defended its cultural autonomy; but American formats eventually made their way into the media to become mainstream. Why were these broadcasts so successful? Had viewers been looking forwardto enjoying them? This paper discusses whether reality television has reflectedan evolution of French ethics. A selection of three French broadcasts is scrutinized in this regard –a quiz show (The Weakest Link), a talk show (My Own Decision) and a reality show (Loft Story). These shows reveal aspects of the ways in which television acts upon mentalities. They also threaten, according to sociological studies of the media, the quality of cultural production –in science and in the arts, in philosophy or in law –as well as democracy and political life at large.
The Television Reader: Critical Perspectives in Canadian and US Television Studies
Making Critical TV Studies Visible
2013 •
Tanner Mirrlees
A Discussion of Cultural Studies and Contemporary Television
Emmanuelle Dias, Felipe Borges
In recent years, television has been reconfigured in the face of new consumption practices for television products. Audiences seeking specific content and a chance to build your own schedule. Thus, watching theses contents no longer restricted to a single support, but it is a myriad of media that includes computers, video games, tablets and smartphones. Cultural Studies bring decisive contributions to thinking about how articulations of everyday practices, culture and society are intrinsically related and can be debated with a view to the media - in these case, television. We are interested in discussing, besides technological aspects, a television as instance, which implies symbolic exchanges and diverse forms of reception
