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Television Criticism



Pub. Date:
SAGE Publications, Inc
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This is the 2nd edition with a publication date of 2/9/2012.

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Television Criticism presents a four-part original treatment of television criticism with a foundational approach to the nature of criticism. Readers gain an understanding of the business of television, production background in creating television style, and are presented with in-depth chapters on storytelling, narrative theories and television genres.

Table of Contents

Prefacep. xiii
Acknowledgmentsp. xv
Introductionp. 1
Orientationp. 7
The Work of the Criticp. 9
Introductionp. 9
The Ends of Criticismp. 9
Journalistic Television Criticismp. 10
The Critical Stancep. 11
Criticism and Culturep. 13
Narrative and Contextual Realityp. 14
Critical Categories and Critical Choicesp. 17
The Business of Televisionp. 18
The Familiar and the Unfamiliar in Televisionp. 19
Critical Orientationp. 19
Summaryp. 20
Exercisesp. 21
Suggested Readingsp. 22
Demystifying the Business of Televisionp. 23
Introductionp. 23
The Role of Advertising, Ratings, and Schedulesp. 24
Advertisingp. 24
Ratingsp. 24
Categories of Ratingsp. 27
Demographicsp. 27
Public Television and Ratingsp. 28
Ratings and the Cost of Advertisingp. 28
The Sweepsp. 29
Why Television Shows Get Renewed or Canceledp. 30
Ratings in the Summerp. 31
The Strategies of Television Advertisingp. 31
Product Promotion Within Television Programsp. 33
Product Placementp. 34
Scheduling and Advertisingp. 35
Noncommercial Channelsp. 36
The Production of a Television Showp. 36
Production Housesp. 36
Pilots and the "Pitch"p. 37
The Production Teamp. 38
The Producerp. 38
Writersp. 39
The Writer's Treatmentp. 41
Directorsp. 42
Castingp. 43
Putting a Show Into Productionp. 43
Summaryp. 45
Exercisesp. 46
Suggested Readingsp. 47
Formal Aspects of Televisionp. 49
Television Stylep. 51
Introductionp. 51
Length of Shot and Framingp. 51
Multi-Camera Productionp. 53
Reaction Shotsp. 53
Lightingp. 54
Production on Film Versus Digital Videop. 55
Style, Reception, and Digital Video Practicesp. 56
Modes of Presentationp. 58
Television Sound and Editingp. 59
Production Stylesp. 60
Art Directionp. 60
The Split Screenp. 63
Directorsp. 63
Actorsp. 64
Summaryp. 64
Exercisesp. 65
Suggested Readingsp. 66
Television, the Nation's Storytellerp. 67
Introductionp. 67
Storytelling and the Human Conditionp. 69
The Nature of Narrativep. 71
Narrative Theoriesp. 72
Aristotle's Narrative Theoryp. 72
Propp's Narrative Theoryp. 73
Barthes's Narrative Theoryp. 73
Narrative Structurep. 75
Intertextualityp. 76
Charactersp. 77
Archetypesp. 79
Mythp. 81
Close Analysis of Narrative Structurep. 86
Summaryp. 86
Exercisesp. 87
Suggested Readingsp. 88
Television Genresp. 89
Introductionp. 89
Television Genre, Production, and Schedulingp. 90
The Rules for Classifying Genresp. 90
Genre and Television Criticismp. 92
Comedyp. 93
Situation Comedyp. 93
Animated Situation Comedyp. 102
Variety Comedyp. 103
Talk Showsp. 103
Nighttime Talk Showsp. 103
Daytime Talk Showsp. 104
Information Talk Showsp. 104
Newsp. 105
National and World Newsp. 105
Local Newsp. 106
News-Talkp. 107
24-Hour Newsp. 107
Magazine Showsp. 108
News-Talk-Entertainmentp. 108
Investigative or Public Affairsp. 108
Celebrity Newsp. 109
Dramap. 109
Crime Shows (Detective, Police, FBI, and Forensic Science)p. 110
Workplace Dramap. 111
Family Dramap. 111
Hybrid Dramap. 112
Teleplays and Telefilmsp. 112
Docudramap. 113
Soap Operap. 113
Science Fictionp. 115
Reality Showsp. 115
Sportsp. 117
Children's Televisionp. 117
Game Showsp. 118
Other Genresp. 119
Summaryp. 119
Exercisesp. 120
Suggested Readingsp. 121
Theoretical Approaches to Television Criticismp. 123
Rhetoric and Culturep. 125
Introductionp. 125
Rhetoricp. 126
Classical Rhetoricp. 127
Rhetoric Through the Agesp. 128
Intentionalityp. 129
The Symbolic Nature of Rhetoricp. 129
The Rhetoric of Kenneth Burkep. 130
Television Rhetoricp. 132
Rhetoric and Valuesp. 133
Cultural Studiesp. 135
British Cultural Studiesp. 137
Power, Ideology, and Hegemonyp. 138
Hall's Encoding/Decoding Modelp. 139
The Codes of Television Productionp. 141
Decoding and Pleasurep. 143
Summaryp. 144
Exercisesp. 145
Suggested Readings in Rhetoricp. 146
Suggested Readings in Cultural Studiesp. 147
Representation and Its Audiencep. 149
Introductionp. 149
What Is Representation?p. 150
Television Representationp. 150
Interpreting Representationp. 151
Reception of Televisual Imagesp. 152
Symbolsp. 153
The Illusion of Realityp. 153
The Need for Imagesp. 154
Representation of the "Other"p. 155
Advice for Television Criticsp. 158
Representation and Collective Memoryp. 160
Summaryp. 161
Exercisesp. 162
Suggested Readingsp. 163
Postmodernismp. 165
Introductionp. 165
Postmodernism Definedp. 166
Postmodern Televisionp. 168
MTVp. 170
MTV Reinventedp. 172
MTV's Influencesp. 173
Postmodern Theoriesp. 173
Summaryp. 176
Exercisesp. 177
Suggested Readingsp. 178
Critical Applicationsp. 179
Guidelines for Television Criticismp. 181
Introductionp. 181
Critical Orientationp. 182
Story and Genrep. 182
Organizationp. 184
Opening Segmentp. 184
The Structure of the Programp. 188
Demographicsp. 188
Contextp. 189
The Look of the Program and Its Codesp. 190
Analysisp. 192
Judgmentp. 194
Writing Television Criticismp. 194
Summaryp. 195
Sample Criticism of a Television Program: Parenthoodp. 197
Introductionp. 197
Thesisp. 197
Purposep. 198
Description of Parenthoodp. 198
Production Informationp. 200
Description of the Episodep. 201
Questions for Analysisp. 203
Analysis and Interpretationp. 204
Story, Substance, and Contextp. 204
Representationp. 208
Demographics and Viewer Involvementp. 209
Summaryp. 210
Glossaryp. 211
Referencesp. 217
Indexp. 227
About the Authorp. 239
Table of Contents provided by Ingram. All Rights Reserved.

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