Term
|
Definition
-set of cultural practices that are unmarked/unnamed
-a cultural and material category in society
-a class ideal |
|
|
Term
|
Definition
-make laughable/visible the tropes of femininity by not abiding by traditional rules of femininity
-ex. Roseanne |
|
|
Term
|
Definition
-cable TV
-MTV
-"dynasty"
-reaganism |
|
|
Term
|
Definition
-political discourse that reagan articulated/embodied
-new era that emphasized going back to tradition ("family values") post-vietnam, post-feminism, poxt-energycrisis, post-recession |
|
|
Term
|
Definition
| idea that "everyone is middle class" despite growing class gap |
|
|
Term
|
Definition
-dea that working hard will get you success
-leads to "myth of upward mobility" |
|
|
Term
|
Definition
-delivery system for race-as-representation
-makes race not awkward, welcoming
-makes race nonconfrontational, palatable, and comfortable |
|
|
Term
|
Definition
-helps ease the audience to the show/film
-way to quickly read characters
-marketable |
|
|
Term
|
Definition
| a sociohistorical process by which racial categories are created/inhibited/transformed/destroyed (omi/winant) |
|
|
Term
|
Definition
| (said) exotisizing the "other" in order to possess and control it |
|
|
Term
| 2 theories on how tv functions |
|
Definition
1) tv text is polysemic
2) the narrative structure within tv is open (story never ends) |
|
|
Term
controlling images involves a process of:
(darrell hamamoto) |
|
Definition
| objectification, subordination, justification |
|
|
Term
|
Definition
Recognition
Reference
Readability |
|
|
Term
| 3 areas of interest in tv studies |
|
Definition
1) defining tv text
2) doting textual analysis
3) investigating the audience |
|
|
Term
|
Definition
1) story (what happens to whom)
2) discourse (how story is told )
3) schedule (how story is affected with its placement within entire tv schedule) |
|
|
Term
| 3 kinds of stores (electronic storyteller) |
|
Definition
-how things are
-how things work
-what to do about them |
|
|
Term
| characteristics of broadcasting industry |
|
Definition
1) private ownership
2) government regulation (FCC)
3) networks (LA, NY)
4) commercial sponsorship (single, magazine, multiple, product placement)
5) private reception in the house |
|
|
Term
|
Definition
few firms dominating an industry
(viacom, disney, general electric, news corp, time warner, cbs) |
|
|
Term
|
Definition
| single firm dominates production |
|
|
Term
|
Definition
| many producers/sellers with only a few differentiable products |
|
|
Term
|
Definition
-one company/product that sponsors episodes
-ex. "george burns and gracie allen show" --> carnation milk |
|
|
Term
|
Definition
| commercials cutting between episode arcs |
|
|
Term
|
Definition
| placing products into shows as a form of advertisement in the new millennium |
|
|
Term
|
Definition
john f kennedy (1961-1963)
lyndon b johnson (1963-1969) |
|
|
Term
|
Definition
richard nixon (1969-1974)
gerald ford (1974-1977)
jimmy carter (1977-1981) |
|
|
Term
|
Definition
| ronald reagan (1981-1989) |
|
|
Term
|
Definition
george h.w. bush (1989-1993)
bill clinton (1993-2001) |
|
|
Term
|
Definition
| george w. bush (2001-2009) |
|
|
Term
| 2010's president (thus far) |
|
Definition
|
|
Term
| key elements in reality tv |
|
Definition
-aesthetic
-liveness
-community
-transformation
-gratitude |
|
|
Term
|
Definition
-the act of reading/seeing images "plunges us into a network of textual relations"
-a text (image) does not possess an independent meaning; the reading or interpretation of it becomes a process of moving between texts
-ex. keeping up with the kardashians |
|
|
Term
|
Definition
-the blurring of real and fiction
-"blending of 'reality' and representation
-no clear indication of where the former stops and the latter begins |
|
|
Term
|
Definition
| -focuses on how audience have the agency to accept/negotiate/challenge hegemonic discourses while still taking pleasure from media texts (gilberto m. blasini) |
|
|
Term
| 2 main types of resistance (to power) |
|
Definition
-semiotic power (power to construct meaning --> ideological symbols, images, etc)
-social power (power to construct a socio-economic system, which is hierarchical) |
|
|
Term
|
Definition
| a way of life --> rooted in structures of power |
|
|
Term
|
Definition
| the object of study and site of political critique and intervention |
|
|
Term
|
Definition
tv is a supertext:
tv text = program + ads +intros + announcements,etc
"television's serial form serves to continue the subject along the itinerary of habituated consumption" |
|
|
Term
|
Definition
| tv programs are made in mind that they need to grab viewers' attention immediately |
|
|
Term
|
Definition
| queer = anything "non-straight culture" |
|
|
Term
| stuart halls' 3 modes of decoding |
|
Definition
-dominant
-negotiated
-oppositional |
|
|
Term
|
Definition
race-as-representation
(representation of racial difference and race relations) on tv |
|
|
Term
|
Definition
| network tv offers what the audience will most accept, not what they want |
|
|
Term
|
Definition
| the idea of the unruly woman acts out the dilemma of femininity and makes visible and laughable the tropes of femininity |
|
|
Term
|
Definition
| symbolic codes (which comprise of) narratives/stories (which are forms of myth (ideologies) |
|
|
Term
|
Definition
| they function on novelty and familiarity |
|
|
Term
|
Definition
| to be invisible on tv means less power in society |
|
|
Term
|
Definition
| "race" is just a marker of difference (has nothing to do with color) |
|
|
Term
|
Definition
| communications satellite corporation |
|
|
Term
|
Definition
| financial interest and syndication |
|
|
Term
|
Definition
|
|
Term
|
Definition
| multiple systems operators |
|
|
Term
|
Definition
premium channels
-ex. hbo, showtime, cinemax |
|
|
Term
|
Definition
OTA (over-the-air), regular channels
-ex. ABC, CBS, FOX, etc |
|
|
Term
|
Definition
|
|
Term
|
Definition
| public access for education and government channels only |
|
|
Term
|
Definition
| national institute of mental health |
|
|
Term
|
Definition
| working together of 2> components to produce an effect greater than alone |
|
|
Term
|
Definition
| separation between companies that supply access and those that provide content |
|
|
Term
| 2 types of access providers |
|
Definition
-internet service providers (ex. ATT, Verizon)
-backbone providers (high speed data lines/switches that form the core of the internet) |
|
|
Term
|
Definition
| include major gateway service companies that major product sites (ex. google, itunes, amazon) |
|
|
Term
|
Definition
| network of networks connecting digital devices that allow info to flow around the planet |
|
|
Term
|
Definition
| application we use to create,access, share info that flows across the internet |
|
|
Term
|
Definition
| consists of all events/characters within the world of a show (on screen or not) |
|
|
Term
|
Definition
|
|
Term
|
Definition
| consistent universe in which everything in story takes place |
|
|
Term
|
Definition
| exposing character's internal thoughts (via voice-over narration, dream sequences, flashbacks, visual fantasies, etc) |
|
|
Term
|
Definition
| an event in narrative can be told multiple times |
|
|
Term
|
Definition
| story events told multiple times to ensure narrative comprehension (ex. via 'previously on avatar...) |
|
|
Term
| basic narrative structure |
|
Definition
-narrative equilibrium of peace ruptured by complicating action
-3 act structure:
1) presents/disrupts situation
2) prolongs/complicates disruption
3) resolves conflict / restores equilibrium |
|
|
Term
|
Definition
stand-alone narratives that are similar to films
ex. holiday in handcuffs |
|
|
Term
|
Definition
resolves conflict over episodes
ex. roots |
|
|
Term
|
Definition
each episode offers a different tv world
ex. twilight zone |
|
|
Term
|
Definition
consistent storyworld but with different characters/settings/etc
ex. house md |
|
|
Term
|
Definition
continuing storyline over episodes
-ex. days of our lives, soaps |
|
|
Term
|
Definition
multi-episode plotlines across a series that are eventually resolves
-ex. avatar |
|
|
Term
|
Definition
|
|
Term
|
Definition
what all tv programs must follow
ex. series formatting, regular scheduling, etc |
|
|
Term
|
Definition
ongoing norms that programs create for themselves
ex. previously on avatar... |
|
|
Term
|
Definition
when a group of similar genre programs emerge at the same time
-ex. 1960s spy shows, 1980s serials, 2000s reality shows |
|
|
Term
|
Definition
| factual, panel, skill, specialty, social/relationship, games of chance |
|
|
Term
| the adventures of ozzie and harriet |
|
Definition
(1952-1966)
-family life with performative singing
-established notion of christmas as a family tradition |
|
|
Term
|
Definition
(1949-1957)
-story of "american-ness"
-manifest destiny
-taming/domesticating the west
-masculinity/horses |
|
|
Term
|
Definition
|
|
Term
| little house on the prairie |
|
Definition
(1974-1983)
-whiteness = americanness (traditional symbols of americanness)
-nostalgic/representation of 1970s |
|
|
Term
|
Definition
(1974-1984)
-set in 1950s (to escape turmoil of 1970s)
-counterculture 'beatnik' --> hippie of 1970s |
|
|
Term
|
Definition
(1974-1979)
-depicts "realistic" portrayals of african american life living in the ghettos |
|
|
Term
| the courtship of eddie's father |
|
Definition
(1969-1972)
-tying together asianness x femininity
-asian women taking place of white women during feminist movement
-joey cries after getting hit --> can't take a hit
-asian women --> overtly heterosexual (with white men) |
|
|
Term
|
Definition
(1973)
-Loud family is the "perfect American family"
-Lance Loud --> one of first gay characters on primetime tv |
|
|
Term
|
Definition
(1975-1985)
-downward mobility/financial struggle |
|
|
Term
|
Definition
(1984-1992)
-"white" black model minority hinging on family values for success
-alternative thinker is contained by sexism |
|
|
Term
|
Definition
(1981-1989)
-hegemonic 'american' portrayal of white wealth
-fandom grew in gay/women communities |
|
|
Term
|
Definition
(1988-1997)
-unruly woman (kathleen rowe)
-carnivalesque
-making a spectacle of herself |
|
|
Term
| the fresh prince of bel air |
|
Definition
(1990-1996)
-after tragedies of LA riots (1992), flashback back to 'tradition' of 1980s |
|
|
Term
|
Definition
(1994-1995)
-family sitcom x american dream
-margaret cho --> unruly woman
-americanness = liberation
-asianness = obedient
*americanness is encouraged |
|
|
Term
|
Definition
(1994-1998)
-ellen's coming out episode
-one of first gay protagonists on primetime tv show |
|
|
Term
|
Definition
(1998)
-predisposed the "reality show" |
|
|
Term
|
Definition
(2002-2005)
-becoming 'american' through consumption |
|
|
Term
|
Definition
(2000)
-margaret cho was marginalized from white community and asian community
-her dissatisfaction with 'all american girl' |
|
|
Term
|
Definition
(2002-2007)
-marker of americanness = citizenship |
|
|
Term
|
Definition
| -smile is what allowed george lopez acceptance |
|
|
Term
|
Definition
(2004-2006)
-only one man's experience (non traditional western)
-gold/greed as a reason to be on indian land (not manifest destiny) |
|
|
Term
|
Definition
(1998-2006)
-will's gayness only exists in dialogue
-queer sexuality is neutered |
|
|
Term
| extreme makeover: home edition |
|
Definition
(2003- )
-myth of meritocracy/product placement
-symbolic codes of the american dream
-before vs. after shows the "before" as NOT the american dream |
|
|
Term
| daily show with jon stewart |
|
Definition
(1996- )
-gaying of america |
|
|
Term
|
Definition
(2003-2006)
-the racial draft |
|
|
Term
| frontline: the persuaders |
|
Definition
(2004)
-product placement in new digital millenium
-advertising as a form of entertainment
-"the consumer wants to be entertained" |
|
|
Term
| frontline: digital nation |
|
Definition
(2010)
-writing/basic skills faltering due to distractions of the digital millennium |
|
|
Term
|
Definition
-tv is made for people of a certain demographic
-youth = cool = superior |
|
|
Term
|
Definition
-millions of brands trying to get at same group of teens
-"cool-hunting"
-as something 'cool' becomes mainstream, it no longer is 'cool' |
|
|
Term
|
Definition
-advertising --> greatest single influence over lives
-shift goods/services awareness to a form of socialization
-1950's --> material utopia (getting people comfortable with purchasing things following WWII) |
|
|
Term
| the electronic storyteller |
|
Definition
-3 kinds of stories: how things are, how things work, what to do about them
-PRINT (printing press)
-ELECTRONIC MEDIA (children told stories by huge media conglomerates from tv) |
|
|
Term
|
Definition
-meanings produced in the interaction between the text and the audience
-ideology works to produce meaning through signs (images) which tell stories
-ideology is a practice/site of struggle |
|
|
Term
|
Definition
| (antonio gramsci) ideological struggle; emphasizes resistance, people must resist ideology; we are not coerced into social beliefs but "consent" to them |
|
|
Term
|
Definition
| (national association of broadcasters) american television is the "most successful and universally accepted business enterprise in history" |
|
|
Term
|
Definition
-sign of blackness = negative, criminal, etc
-sign of prosperity = positive, aspirational, etc
-valorization of notions about "family values" (reaganism)
-era of big business and few owners of media |
|
|
Term
|
Definition
-the cosby show does not reflect vast majority of black people
-huxtables are assimilated
-blackness as something to overcome
-black people who aren't like the huxtables are perceived as lazy/lacking, etc (regardless of the structural hardships) |
|
|
Term
| why we need genres on television |
|
Definition
-industries: define programming, organize schedules, brand networks
-audiences: organize fan practices
-academics: direct research and organize classes
-tv critics: critique programs and guide readers |
|
|
Term
| narration as a communicative act: |
|
Definition
| to have a narrative, one must have not only a tale, but also a teller and a listener |
|
|
Term
|
Definition
-demographics: age, race, gender, occupation, education, income, etc
-psychographics: attitudes, beliefs, interests, motivations, etc |
|
|
Term
| advertising works as a discourse: |
|
Definition
-a 'mythic' system (roland barthes)
-the product is juxtaposed with other mythic images in hopes that the consumer will associate the product with the image/myth
-promotes ideology of consumerism and capitalism
-form of socialization/education
-produces consumers
-exploits envy (of your future self) and fear
-sells the notion of TRANSFORMATION (american dream) |
|
|
Term
|
Definition
| for a cultural commodity to be popular, it must be interesting to people amongst who its popular and the producers |
|
|
Term
|
Definition
(pedro zamora's real world)
-ethics of self: working on self for others
-identity narratives: stories constructed around identity
-public sphere: major institutions that affect the masses are governed by dominant ideology
-possibility of counterpublics: possibility of communities that challenge dominant ideology but are not necessarily activist communities |
|
|
Term
| how did zamora create "the possibility of counterpublics"? |
|
Definition
(munoz)
1) he used mtv as a stage to make something private, public
2) used reality tv format to fully explore his identity |
|
|
Term
| how does reality tv work? |
|
Definition
-provides identification with particular characters
-provides ambiguous storyline
-selective perspective
-follows/promotes existing ideological myths
-notion of hyperreality
-requires audience engagement |
|
|
