There’s noguarantee in meaning; there’s no way in which you can prevent a stereotypefrom being pulled back to some of its more stereotypical forms. But you canengage in a way which begins to open the stereotypes up in such a way thatthey become uninhabitable for very long
It isn't easy to put an end to stereotypes but if you are able to make it so every group can engage in them it gives people the ability to see just how biased they can be and putting a stop to them.
So the struggle toopen up stereotypes is often a struggle to increase the diversity of things whichsubjects can be of – the possibilities of identities which people have not seenrepresented before – it is very important; that is “the politics of the image.
To put a stop to stereotypes you have to in some ways create a new one to show diversity within a group of people. The main goal is to have people identify with characters in media, but that can be very challenging as there are so many unique people in the world.
Who has the power, in whatchannels, to circulate which meanings to whom? Which is why the issue ofpower can never be bracketed out from the question of representation.
Representation and power coincide, so they can't be considered separate topics. When being inclusive through media you have to take into consideration who has the power in the situation and what will they do with it. The power shown in media has to be significant so people can create change in the real world.
So the representation is the way in which meaning is somehowgiven to the things which are depicted through the images or whatever it is, onscreens or the words on a page which stand for what we’re talking about
Representation is relative and what really matters is how you give meaning to the representation in media. The representation holds no power if its randomly added there needs to be a purpose for it.
Hallunderstands that communication is always linked with power and that thosegroups who wield power in a society influence what gets represented throughthe media.
I agree that media representation can give groups power and it is important that every group gets equal representation. The voices that are heard in media can influence society greatly, so its important that every voice is heard.
The relationship among a crime drama like CSI, reality television, and the news isimportant because of its impact on the cultural meanings circulated by television.
When crime dramas like CSI and reality tv are compared it can sometime be hard for people to determine what is accurate and what's not. The combination of the elements within each creates a sense of authority and power in how police and science are intertwined.
Therefore, it is essential that they construct a sense of science that appears tobe accurate and decisive, thus convincing viewers of the show’s forensic realism
To gain traction on these crime shows the viewers need to feel like the science shown is accurate. I think this can lead people to have a misconception of how the police actually use forensics which can create doubt.
Our interest hereis not the accuracy of presentation but rather in how CSI dramatically constructs a senseof science and interweaves police themes with representations of science in culturallysignificant ways
When dramas combine both science and police work it doesn't matter whether it is accurate as long as it interests the viewer and feels real to them.
Theirpresentations are couched in notions of good and evil, and these binary opposites actas emotional, moralistic hooks that draw an audience for news or drama (
Crime dramas are typically based on the belief that there is a good and evil side. The conflicts between the two creates interest for the viewer as emotional attachments develop and motivate the viewer to keep watching.
The police and science now add to life’s uncertainties and they seem to be at odds with eachother.
When both the police and science can't be relied on it leads many to question the authority and power that police are given. When the police and science have differing opinions it complicates things and creates a distrust.
We shouldn’t understate the importance of this viewer control, as the scheduling dependence on the commercial broadcast system has reinforced the cultural link between television programming and commerce over art for decades.
Viewers have control of what becomes popular and help connect television to more traditional art through the reinforcement the broadcast system brings. When people start talking about their favorite shows or films they can describe it as an art and find it similar to more traditional forms of art.
Today, much of American serialized television is viewed as a legitimate narrative art form, comparable to other more traditionally valued media, such as film and literature.
Film and literature are becoming a forgotten type of media as people make way for American television which is now considered narrative art which overall limits viewership of films and literature.
The increased use of atemporality, flashbacks, internal repetition, blurs between fantasy and reality, and shifts in tone and genre all challenge viewers who are accustomed to American television being a highly conventional narrative medium.
By crossing the lines of fantasy and reality viewers are forced to look at media differently which creates a deeper story through something other than the conventional narrative American tv offers.
While many boxes are designed to appeal to and frame the series for new viewers, some are specifically constructed to speak to experienced “insider” fans.
To bring more customers and to interest them boxes were typically designed to match the content of a series in hopes it would intrigue the viewer and convince them to purchase it. Boxes also were memorable for those who have already seen these shows.
no decade has seen more transformations in television as an industry, a textual form, and a technology since the 1950s.
The 1950s was a time for many technological changes and changed how television is seen today still leaving an impact today.
The TV series repeats a problematic. Ittherefore provides no resolution of the problematic at the end of eachepisode, nor, often, even at the end of the run of a series. Hence again thereduction of onward narrative progression.
Tv series tend to have a more connected and longer story than films even though the episodes are short form due to the fact that the issues created with in the story can be prolonged. This makes the viewer more interested as they want a solution to the problem, but this can lead to a decrease in narrative progression.
Movement from event to event is slower than in cinema, andparticular incidents tend to proliferate and be explored in more detail.
In cinema events tend to be more fast paced than the segments that are broadcasted so a story can conclude quickly rather than going on through several episodes of a show.
Where an eventwith narrative consequences does take place, several segments arerequired to work through those consequences and to recapitulate the eventitself.
The narrative in a way drives the story forward and generally requires a problem to be solved to avoid later consequences.
The recognition of the seriesformat tends to hold segments together and to provide them with anelement of continuity and narrative progression from one to the next
Narratives tell a story and bring segments of a series together through an overarching theme or issue within the series making the segments feel interconnected.
Any model of narration on broadcast TV therefore has to be based onthe particular institutional and material nature of that TV as we now knowit.
Narration has to follow certain guidelines to be considered proper narration and is very different when compared to the distinctions of fiction and non-fiction.
generate the flows of email inboxes,social network feeds, streaming media queues, and everdemanding notifications.
Even though we may not notice it there is a flow in everyone's life. People naturally start to fall into a pattern overtime similar how shows can blend seamlessly together and get us to sit there watching for hours.
flow remains more of a critical provo-cation than a coherent analytical method
Flow wasn't a method of success for television companies and became a way for companies to express there thoughts freely using a go with the flow desire. There was not a specific pattern or organization that the programs had to follow it was more freeform.
lowto describe the depthless circulation of disconnectedimages and sounds that exemplify the postmoderncondition.
Flow was defined in many ways and became a way for people to ridicule televisions. Some people even viewed the way that broadcasting flowed as disorganized with ads disrupting the viewers experience. Flow wasn't smooth it was seen as a way to describe random meaningless content.
over several hours, Williams deconstructsprogramming into discrete segments, and then explainshow these segments, as delivered in a succession ofsounds and images, become more than the sum of theirparts.
Programming has many unique interworking parts that can each be interpreted and looked at individually. By bringing all these individual parts together that is when we see the flow as it is meant to be naturally switching topics and keeps the viewer interested.
Thus, both internally, in itsimmediate organisation, and as a generally available experience,this characteristic of flow seems central.
Watching television is accessible at any time of day and has become an important part of our everyday lives to the point where people plan to watch tv at certain times to get their daily fix of television.
We can be ‘into’ some-thing else before we have summoned the energy to get out of theprogramming: distribution and flow94
Television can become addictive as we get used to the flow of the programs we might not even realize that something else completely is playing now. To keep people watching it is important for shows to have something to catch the attention of the viewer towards the beginning of the program.
to get viewers in at the beginning of aflow.
The goal of television channels is to get people to watch the shows towards the beginning of the flow so they keep watching and get hooked.
Of course the films were not made to be ‘interrupted’ in thisway. But this flow is planned:
It is unpredictable how viewers will react to the planned flow of broadcasting. The sequences are thought out so that the viewer doesn't lose interest but films sometime felt as if there was a disruption.
the true series is not the publishedsequence of programme items but this sequence transformed bythe inclusion of another kind of sequence, so that thesesequences together compose the real flow, the real ‘broadcast-ing’.
By bringing certain sequences together at specific points that is how you can successfully create the flow needed in a broadcast, allowing it to run smoothly.
However,unlike language, individual utterances do have the capacity to change therules.
Films and Tv can adapt to public opinion and changes the meaning of genre and categorization. Overtime genres can shift from one pattern to another leading to some of the greatest movies we have today.
the classicalHollywood narrative style and genres help to regulate the production ofdifference by producing their own differences within very circumscribedstructures of similarity. I
Creating a unique film or show is hard especially when you are going for a specific genre, but are also trying to be unique or different. Some movies and shows today can feel exactly the same when they try to follow the same formula so in the end the "Hollywood narrative" becomes constricting.
this is a lot easier when the genre is already complete and not, aswith television, in a constant state of flux and redefinition.
When it comes to films and Tv each genre can change drastically based on the content shown within each category further changing and altering our perception of what the film is conveying to the viewer.
they possess none of the exaggerationand heightened emotion and elaborate gestures of their American cousins.
When it comes to different countries and cultures some genres can vary greatly and have a completely new meaning. So the question becomes how generalized can these genres be and how should we actually be categorizing them.
Thus genre theory deals with the ways in which a work maybe considered to belong to a class of related works.
Genre theory can connect different works together through the categories they are put into.
e 1950 publication Red Channels: The Report on theCommunist Influence in Radio and Television, consisting largely of a list ofover 150 actors and other television personnel with purported le-wing ties,quily led to a decade-long pervasive political blalist in networktelevision.
Many actors had to leave their jobs because of their ties to left-wing ideas. This went on for a decade essentially ruining people's careers and upset many audiences as their favorite character was removed from their favorite shows causing other problems down the line.
the networks in 1951enacted a Television Code closely modelled on the Hollywood ProductionCode
Due to controversial topics and group opinions television networks had to now follow a television code so that everyone was happy with what was being shown on tv.
More than 3 million television sets were sold in the first six monthsof 1950, 60 percent of them on credit, “with the poor crowding the ri awayfrom the counters,”
It seems people with a higher income didn't enjoy tv as much due to lower class individuals having access to it and saw it as more of a commodity. This seems like a form of classism in which higher class people view lower income individuals as different and caused prejudice.
e ange in TV audiences from high-income to middle- and low-incomehouseholds has been offered by some industry historians as the motivationfor a number of programming shis of the mid-1950s
How does income relate to what is shown on tv and what trends have we seen overtime due to this? Why did people believe that lower and middle class households didn't enjoy the same programs in the first place?
“the American householdis on the threshold of a revolution. e wife scarcely knows where thekiten is, let alone her place in it. Junior scorns the late-aernoon sunlightfor the glamour of the darkened living room. Father’s briefcase liesunopened in the foyer. e reason is television.”
People started to blame television for problems in the home and assumed people would act differently. The expectations of a household were gonna be disrupted by television. They assumed kids would be up late, father's wouldn't go to work and that women wouldn't know how to take care of the family.
“the advertiser buys freedom forthe listener at the same time he buys time and talent. For it is an historic factthat the only other kind of radio is government radio.”
When people promote their radio shows they are in a way helping people gain freedom from the government that puts out their own radio to somewhat silence others.
the network was vulnerable to the sameantitrust arges and legal remedies of dismemberment that the beleagueredHollywood studios were currently undergoing.
In my opinion it seems that executives like the one from NBC have some worries about what might happen due to the issues other companies like Hollywood studios were experiencing.
e DuMont networkwent out of business in 1955 while the ABC network struggled through TV’sfirst decade to aieve a weaker, though competitive position by 1960.
Why did the Dumont network specifically suffer from the FCC 's decision? What exactly happened to cause the network to go out of business?
e domestic womanneeded to save her energy for housekeeping, ildrearing, and an active(monogamous) sex life with her husband
Women were encouraged to continue their way of life after the war, but women had gained a desire for more authoritative jobs.
popular media su as film noir showed angst-ridden, sexuallyunstable men, scarred psyologically and unable to relate to the familialideals and bureaucratic realities of postwar life
Media started to depict men who were unable to return to their lives before the war.
What was needed was a particular aitude, a sense of closenessthat permeated the room
Just the idea of being together in a shared space encouraged the idea of living rooms we have today.
other householdfixtures traditionally associated with domestic bliss had to make room for it.
In today's society people are more surprised to find out a person doesn't have a tv because of how normalized they have become.
the television set becamean integral part of the domestic environment depicted in the magazines
Magazines promoted television sets as a necessity in family homes which may have lead people to believe the "perfect family" has to have a television set.
he aempt to maintain a balance between these two ideals was a centraltension at work in popular discourses on television and the family
Television at the time was trying to manage both bringing people together bit also trying to keep people in their place.
television serves as a rhetorical figure for the loss ofcommunication between family members
Small details like the television being static add to the scene and remind me of how families can become distanced when tension arises.