1 Critical Contexts: Television Studies, Fandom Studies, and the Vid

Fanvids ◽  
2020 ◽  
pp. 27-48
Keyword(s):  
Television Studies

Beckett in Television Studies

2000 ◽  
Vol 10 (1-2) ◽  
pp. 105-118
Author(s):  
Jonathan Bignell
Keyword(s):  
Television Studies

scholarly journals La comunicabilidad de lo ambiguo: una propuesta narratológica para el análisis de la ficción televisiva compleja

2019 ◽  
Vol 28 ◽  
pp. 867
Author(s):  
Antonio Loriguillo-López
Keyword(s):  
Present Article ◽  
Television Studies ◽  
Narrative Strategies ◽  
Stylistic Feature ◽  
English Speaking ◽  
Narrative Mode ◽  
New Phase

El presente artículo propone una metodología de análisis de la narración ambigua en la ficción televisiva contemporánea, rasgo estilístico al alza entre propuestas comerciales. A través de la adaptación y aplicación de la comunicabilidad enunciada por David Bordwell como estrategia nar­rativa en su estudio de los modos de narración cinematográficos a una muestra de series dramáticas de origen anglosajón, se ofrece un primer tratamiento del modo narrativo de lo que desde los estudios televisivos se ha identificado como televisión compleja. Finalmente, se apunta a la cor­respondencia de este modelo con una nueva fase del modelo de narración del audiovisual postclásico.The present article proposes a methodology of analysis of the ambiguous narration in contemporary television fiction, a stylistic feature on the rise among commercial titles. Through the adaptation and applica­tion of the communicativeness formulated by David Bordwell as one of the categories of narrative strategies in his examination of the modes of narration in film to a sample of drama series produced in English-speaking regions, we offer a primary approach to the narrative mode of what has come to be known in the field of Television Studies as complex TV. Lastly, we note the correspondence between this model and a new phase of the audiovisual post-classical narration.

America on Stage: the World in the Classroom

1995 ◽  
Vol 11 (41) ◽  
pp. 66-71
Author(s):  
Caleen Sinnette Jennings
Keyword(s):  
Assistant Professor ◽  
Television Studies ◽  
Washington Dc ◽  
American University ◽  
American Theatre ◽  
Film And Television ◽  
The Third ◽  
Group Presentations ◽  
The World ◽  
Similarities And Differences

In this, the third paper originally presented at the ATHE conference in Atlanta in 1992, Caleen Sinnette Jennings, Assistant Professor of Theatre in the American University, Washington, DC, discusses the problems and rewards of introducing American theatre, film, and television studies to a class of sixty students from a wide variety of nations and social backgrounds. Outlining the ideas and intentions behind a wide-ranging syllabus, she quotes from group presentations and individual responses to illustrate how works deeply rooted in American culture and assumptions can stimulate the recognition and discussion of social and cultural similarities and differences among responsive students.

Re-Visiting Tom O’Regan’s Australian Television Culture: Why Media Ownership, Regulation and Policy Still Matter

2021 ◽  
Vol 180 (1) ◽  
pp. 17-23
Author(s):  
Anna Potter
Keyword(s):  
Media Industries ◽  
Media Policy ◽  
Television Studies ◽  
Media Ownership ◽  
Ownership Structures ◽  
Analytical Frameworks

Almost 30 years after its publication, Tom O’Regan’s innovative and ambitious, multi-layered analysis of Australian television culture remains an important text for contemporary scholars of television studies, cultural and communications studies, and media industries. In this article, I re-visit the multiple lessons of value that we can take from Australian Television Culture and its distinctive analytical frameworks. Two of the book’s key areas of focus, media ownership structures, and media policy and regulation are explored further, including in work Tom and I would go on to do together.

Richang: An Affect-Inflected Ethnography of Chinese Livestreams

2021 ◽  
Vol 8 (1-2) ◽  
pp. 15-42
Author(s):  
Ge Zhang
Keyword(s):  
Contact Zone ◽  
Participant Observation ◽  
Video On Demand ◽  
Television Studies ◽  
On Demand ◽  
Ethnographic Writing ◽  
Affective Events ◽  
Mass Entertainment

Abstract I tracked one Chinese livestreaming platform Douyu from its emergence as experimental subsidiary of a Video on Demand platform in 2013 to its status as an ordinary medium of mass entertainment in 2018. This affect-inflected ethnography is written based on participant observation of three channels on Douyu as I exhibit the microcontexts of each channel in chronicles of affective events, long pauses of silence, repetitive and incoherent dialogues, asymmetrical debates, and sporadic moments of emotional meltdown. This ethnographic writing is a contact zone, a provocation, and, by proxy, a dialogue between academic theories (especially from television studies), user practices, and my informants’ own attempts at theorising how and what livestream feels and means for them.

scholarly journals Re-Locating the Spaces of Television Studies

2016 ◽  
Vol 4 (3) ◽  
pp. 123-130
Author(s):  
Anna Cristina Pertierra
Keyword(s):  
North America ◽  
Cultural Studies ◽  
The Philippines ◽  
Theoretical Research ◽  
Entertainment Industry ◽  
Television Studies ◽  
Global Media ◽  
Broadcast Television

This paper will extend work originally presented in Pertierra and Turner’s <em>Locating Television </em>(2013) to argue that the reasons for which the demise of television was prematurely assumed can be understood and corrected by critically examining the geopolitics of television scholarship. The spaces from which television has been taken seriously as a topic of investigation have enabled a neglect of empirical and theoretical research that genuinely engages with the ways in which television might be understood as variously surviving, growing, innovating and even leading the current and future global media landscapes. The paper offers two ways in which television scholars might productively re-locate their spheres of concentration to understand the diversity of television worlds today: 1) empirically, it considers the case of the Philippines where broadcast television is successful in ways that could only be dreamed of by television executives in the so-called ‘world centres’ of the global entertainment industry. 2) theoretically, the paper refers to complementary attempts in sociology, literary and cultural studies to offer alternatives to Europe and North America from which scholars might locate the vanguard for modernity, globalization and innovation. It is by engaging with both of these strands in concert—empirically investigating television beyond the ‘usual places’ in such a way that responds to the call of cultural theorists to question our very assumptions about where television studies’ ‘usual places’ should be, that more nuanced understandings, and fewer premature declarations, might be made about what television is, and where it is going.

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