Preface | p. xiii |
Acknowledgments | p. xv |
Introduction | p. 1 |
Orientation | p. 7 |
The Work of the Critic | p. 9 |
Introduction | p. 9 |
The Ends of Criticism | p. 9 |
Journalistic Television Criticism | p. 10 |
The Critical Stance | p. 11 |
Criticism and Culture | p. 13 |
Narrative and Contextual Reality | p. 14 |
Critical Categories and Critical Choices | p. 17 |
The Business of Television | p. 18 |
The Familiar and the Unfamiliar in Television | p. 19 |
Critical Orientation | p. 19 |
Summary | p. 20 |
Exercises | p. 21 |
Suggested Readings | p. 22 |
Demystifying the Business of Television | p. 23 |
Introduction | p. 23 |
The Role of Advertising, Ratings, and Schedules | p. 24 |
Advertising | p. 24 |
Ratings | p. 24 |
Categories of Ratings | p. 27 |
Demographics | p. 27 |
Public Television and Ratings | p. 28 |
Ratings and the Cost of Advertising | p. 28 |
The Sweeps | p. 29 |
Why Television Shows Get Renewed or Canceled | p. 30 |
Ratings in the Summer | p. 31 |
The Strategies of Television Advertising | p. 31 |
Product Promotion Within Television Programs | p. 33 |
Product Placement | p. 34 |
Scheduling and Advertising | p. 35 |
Noncommercial Channels | p. 36 |
The Production of a Television Show | p. 36 |
Production Houses | p. 36 |
Pilots and the "Pitch" | p. 37 |
The Production Team | p. 38 |
The Producer | p. 38 |
Writers | p. 39 |
The Writer's Treatment | p. 41 |
Directors | p. 42 |
Casting | p. 43 |
Putting a Show Into Production | p. 43 |
Summary | p. 45 |
Exercises | p. 46 |
Suggested Readings | p. 47 |
Formal Aspects of Television | p. 49 |
Television Style | p. 51 |
Introduction | p. 51 |
Length of Shot and Framing | p. 51 |
Multi-Camera Production | p. 53 |
Reaction Shots | p. 53 |
Lighting | p. 54 |
Production on Film Versus Digital Video | p. 55 |
Style, Reception, and Digital Video Practices | p. 56 |
Modes of Presentation | p. 58 |
Television Sound and Editing | p. 59 |
Production Styles | p. 60 |
Art Direction | p. 60 |
The Split Screen | p. 63 |
Directors | p. 63 |
Actors | p. 64 |
Summary | p. 64 |
Exercises | p. 65 |
Suggested Readings | p. 66 |
Television, the Nation's Storyteller | p. 67 |
Introduction | p. 67 |
Storytelling and the Human Condition | p. 69 |
The Nature of Narrative | p. 71 |
Narrative Theories | p. 72 |
Aristotle's Narrative Theory | p. 72 |
Propp's Narrative Theory | p. 73 |
Barthes's Narrative Theory | p. 73 |
Narrative Structure | p. 75 |
Intertextuality | p. 76 |
Characters | p. 77 |
Archetypes | p. 79 |
Myth | p. 81 |
Close Analysis of Narrative Structure | p. 86 |
Summary | p. 86 |
Exercises | p. 87 |
Suggested Readings | p. 88 |
Television Genres | p. 89 |
Introduction | p. 89 |
Television Genre, Production, and Scheduling | p. 90 |
The Rules for Classifying Genres | p. 90 |
Genre and Television Criticism | p. 92 |
Comedy | p. 93 |
Situation Comedy | p. 93 |
Animated Situation Comedy | p. 102 |
Variety Comedy | p. 103 |
Talk Shows | p. 103 |
Nighttime Talk Shows | p. 103 |
Daytime Talk Shows | p. 104 |
Information Talk Shows | p. 104 |
News | p. 105 |
National and World News | p. 105 |
Local News | p. 106 |
News-Talk | p. 107 |
24-Hour News | p. 107 |
Magazine Shows | p. 108 |
News-Talk-Entertainment | p. 108 |
Investigative or Public Affairs | p. 108 |
Celebrity News | p. 109 |
Drama | p. 109 |
Crime Shows (Detective, Police, FBI, and Forensic Science) | p. 110 |
Workplace Drama | p. 111 |
Family Drama | p. 111 |
Hybrid Drama | p. 112 |
Teleplays and Telefilms | p. 112 |
Docudrama | p. 113 |
Soap Opera | p. 113 |
Science Fiction | p. 115 |
Reality Shows | p. 115 |
Sports | p. 117 |
Children's Television | p. 117 |
Game Shows | p. 118 |
Other Genres | p. 119 |
Summary | p. 119 |
Exercises | p. 120 |
Suggested Readings | p. 121 |
Theoretical Approaches to Television Criticism | p. 123 |
Rhetoric and Culture | p. 125 |
Introduction | p. 125 |
Rhetoric | p. 126 |
Classical Rhetoric | p. 127 |
Rhetoric Through the Ages | p. 128 |
Intentionality | p. 129 |
The Symbolic Nature of Rhetoric | p. 129 |
The Rhetoric of Kenneth Burke | p. 130 |
Television Rhetoric | p. 132 |
Rhetoric and Values | p. 133 |
Cultural Studies | p. 135 |
British Cultural Studies | p. 137 |
Power, Ideology, and Hegemony | p. 138 |
Hall's Encoding/Decoding Model | p. 139 |
The Codes of Television Production | p. 141 |
Decoding and Pleasure | p. 143 |
Summary | p. 144 |
Exercises | p. 145 |
Suggested Readings in Rhetoric | p. 146 |
Suggested Readings in Cultural Studies | p. 147 |
Representation and Its Audience | p. 149 |
Introduction | p. 149 |
What Is Representation? | p. 150 |
Television Representation | p. 150 |
Interpreting Representation | p. 151 |
Reception of Televisual Images | p. 152 |
Symbols | p. 153 |
The Illusion of Reality | p. 153 |
The Need for Images | p. 154 |
Representation of the "Other" | p. 155 |
Advice for Television Critics | p. 158 |
Representation and Collective Memory | p. 160 |
Summary | p. 161 |
Exercises | p. 162 |
Suggested Readings | p. 163 |
Postmodernism | p. 165 |
Introduction | p. 165 |
Postmodernism Defined | p. 166 |
Postmodern Television | p. 168 |
MTV | p. 170 |
MTV Reinvented | p. 172 |
MTV's Influences | p. 173 |
Postmodern Theories | p. 173 |
Summary | p. 176 |
Exercises | p. 177 |
Suggested Readings | p. 178 |
Critical Applications | p. 179 |
Guidelines for Television Criticism | p. 181 |
Introduction | p. 181 |
Critical Orientation | p. 182 |
Story and Genre | p. 182 |
Organization | p. 184 |
Opening Segment | p. 184 |
The Structure of the Program | p. 188 |
Demographics | p. 188 |
Context | p. 189 |
The Look of the Program and Its Codes | p. 190 |
Analysis | p. 192 |
Judgment | p. 194 |
Writing Television Criticism | p. 194 |
Summary | p. 195 |
Sample Criticism of a Television Program: Parenthood | p. 197 |
Introduction | p. 197 |
Thesis | p. 197 |
Purpose | p. 198 |
Description of Parenthood | p. 198 |
Production Information | p. 200 |
Description of the Episode | p. 201 |
Questions for Analysis | p. 203 |
Analysis and Interpretation | p. 204 |
Story, Substance, and Context | p. 204 |
Representation | p. 208 |
Demographics and Viewer Involvement | p. 209 |
Summary | p. 210 |
Glossary | p. 211 |
References | p. 217 |
Index | p. 227 |
About the Author | p. 239 |
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