Television genres

Television as Literature: Castle and Detective Fiction – An Analysis

by Allyson Willoughby

Written as a final project for ENGL 106 - Introduction to the English Major; link was tweeted to Castle Creator, Andrew W. Marlowe, who replied on January 31, 2012; featured in an article in SUNY Fredonia's newspaper, The Leader, and Fredonia's Campus Report

This paper explores the reasoning behind studying televison as a form of literature in academia through several modes... more This paper explores the reasoning behind studying televison as a form of literature in academia through several modes of literary criticism and interpretation, and the difference between the existing area of television studies and the proposed study of televsion as literature. Critical analysis was applied to the ABC television series, Castle, in support of this argument. Also explored is Castle's place within the genre of detective fiction, as well as the value of the critical analysis within the fan community of the series.

Beyond the Case Method: A Master Class for Enterprise Development

by Peter Mellalieu

Mellalieu, P. J. (1998). Beyond the Case Method: A Master Class for Enterprise Development. Proceedings of the Annual Educators Conference of the New Zealand Strategic Management Society, 6th Annual Conference. The University of Auckland N.Z.: New Zealand Strategic Management Society.

See also related:
Mellalieu, P. J. (1998). Weaving the threads of innovation, creativity, and entrepreneurial learning through a university-located reality-TV and master class: Enterprise MasterWorks (EMW)™. International Conference on Higher Education and Small/Medium Enterprise (SMEs). Presented at the International Conference on Higher Education and Small/Medium Enterprise (SMEs), Rennes, France: Centre Études et Recherche EURO PME, Rennes International School of Business. Retrieved from http://tinyurl.com/emw1998

Examines the strengths and limitations of the case method as a teaching tool for developing the professional... more Examines the strengths and limitations of the case method as a teaching tool for developing the professional competence of personnel engaged in strategic management and enterprise development projects. Reports on progress towards introducing a new pedagogical genre for educators, trainers and consultants informed by the notion of a ‘master class for entrepreneurs’. The approach, Enterprise MasterWorks (EMW), extends on the traditional case study method of teaching by offering multi-media material that is timely, lively, relevant to the context of small enterprise and new venture development, and augmented with written material comparable to the traditional case format.

Illustrates the EMW approach in detail for one prototype package based on the foundation and growth of the New Zealand ‘born global’ company Pacific Lithium Limited, and its founding entrepreneur, Robin Johannink. Outlines results from trials of the pedagogical ‘package’ in several situations and presents future development intentions. for the production and dissemination of the EMW courseware packages. Argues that the EMW approach provides a cost-effective approach for surfacing the tacit knowledge of a high-performing (‘masterful’) enterprise developer, and passing on that knowledge to selected learning partners.

La tv racconta. Introduzione alle attuali narrazioni televisive

by Lorenzo Denicolai

Published in "Turin Dams Review", 42, 2012

Television has been able to tell the nature, emotions and desires of
viewers. The public, inserted in a sort of... more Television has been able to tell the nature, emotions and desires of
viewers. The public, inserted in a sort of mediality reflective, it is always
identified himself in the actions of TV heroes. Even in television today, even though
in teeming schedules more or less "personal", overlooking the guidelines of a
community and collective narrative, seeking new heroic figures.

La hibridación de lo real: simulacro y performatividad en la era de la postelerrealidad

by Alberto N. García

"La hibridación de lo real: simulacro y performatividad en la era de la postelerrealidad", Analisi, nº 38, 2009, pp. 237-251.

La televisión contemporánea factual se encuentra inmersa en un período de progresiva hibridación y reestilización... more La televisión contemporánea factual se encuentra inmersa en un período de progresiva hibridación y reestilización lúdica que podemos denominar «postelerrealidad». Continuamente se desarrollan nuevos formatos que buscan mantener el interés de la audiencia. En este sentido, resulta interesante examinar cómo —mientras se escenifica lo real— estos nuevos programas juegan con las nociones del simulacro baudrillardiano y la performatividad, conceptos clave para entender las estrategias narrativas y retóricas que despliegan. A la luz de estos conceptos de raigambre posmoderna, este artículo analizará los nuevos formatos de postelerrealidad aparecidos en la televisión en la era posterior a los éxitos de Gran Hermano, Supervivientes y Operación Triunfo, con la finalidad de definir cómo se distorsionan y reinventan términos como autenticidad, realismo y verdad.

TWITTER Y LA REBELIÓN DE LOS CIBERFANS DE GRAN HERMANO 2.0

by Luis Garcia Fanlo

Resumen / Abstract Texto de próxima publicación (marzo 2012)

Football Televised Commentaries

by Arnaud RICHARD

Language in Performance, 2008, n° 38, pp.193-202, Seiten, Austria

May, 12th, 1976, in Glasgow, nearly thirty years after the end of the Second World War, two of the most renowned... more May, 12th, 1976, in Glasgow, nearly thirty years after the end of the Second World War, two of the most renowned soccer team from France and Germany faced each other in the final of the European clubs championship. International sports events provide great evidence of the way national cultures frame their view of other nationalities. I will seek through various examples to point out links between the operation of media sports discourse and the possible interests of countries as they occur in practice. This is examined through qualitative discourse examples from the transcription of the French television broadcast. Past and present issues of identity politics between France and Germany can be illuminated through this analysis. Attention is paid to whether national stereotyping, I/we images, established/outsider identities/relations were evident in the direct broadcast of this soccer game. I will examine how television has transformed sport as a form of popular culture, focusing on sport as a form of political ritual and sport as an arena in which representations of nation and nationhood are continually being worked through.

Time Passages: From Upstairs Downstairs to Downton Abbey (2011, 2012,draft; please don't quote without permission)

by Ronald Helfrich, Jnr.

A number of commentators have noted the indebtedness of Julian Fellowes ITV television show Downton Abbey to the... more A number of commentators have noted the indebtedness of Julian Fellowes ITV television show Downton Abbey to the British studio drama, likewise broadcast on ITV, that preceded it, Upstairs Downstairs. My paper “Time Passages: From Upstairs Downstairs to Downton Abbey” explores the history of both shows, similarities between the two shows (structural, generic, narrative), differences between the two shows (focusing on narrative themes of scandal, intrigue, history, and romance), and the cultural impact of the both shows (Up Down and Downton as cultural phenomena). On the theoretical level “Time Passages” argues that we must move beyond notions that Up Down and Downton Abbey are purely nostalgic yearnings or desires of mostly middle class viewers living in changing times for a world, embalmed in history, in which people knew their place and all was right with Great Britain’s imperialistic world and explore the narrative similarities and differences of TV shows that share a genre and subgenres if we are to fully understand them.

The rise of the television 'mockumentary': from familiar genres to new forms

by Sarah Cardwell

Anglofiles, no. 129, September 2003, pp. 30-41

Literature on the Small Screen: Television Adaptations

by Sarah Cardwell

In Deborah Cartmell and Imelda Whelehan (eds.) Cambridge Companion to Literature on Film, Cambridge UP, 2007, pp. 181-96

Distribución y financiación de formatos audiovisuales en Internet: nuevas estrategias para rentabilizar los contenidos

by Maria Jose Arrojo

New Strategies to Make Contents Profitable.
Distribution and Financing of Audiovisual Formats in the Internet

The changes derived from the use of new devices for the audio-visual consumption are transforming the productive... more The changes derived from the use of new devices for the audio-visual consumption are transforming the productive processes, the distribution and the strategies of and of programming. The persons marketing in charge of the television formats seek to promote their contents in the Network and there arise audio-visual
specific products for this support across new lines of funding.
Keywords: Formats, Internet, Television, Distribution, Branded Entertainment

Phenomenology and Uncanny Homecoming: Homeworld, Alienworld, and Being-at-Home in Alan Ball’s HBO Television Series, Six Feet Under

by David Seamon

first draft of a chapter prepared for Uncanny Homecomings, a collection of essays edited by Daniel Boscaljon, publisher to be determined. A revised, extended version of a presentation at the 7th annual Religion, Literature, and the Arts Conference held at the University of Iowa, Iowa City, August 27; conference theme: “Uncanny Homecomings: Narrative, Structures, Existential Questions, Theological Visions.” © David Seamon 2011

This chapter provides one phenomenological interpretation of writer and director Alan Ball’s popular Home Box Office... more This chapter provides one phenomenological interpretation of writer and director Alan Ball’s popular Home Box Office cable-television series, Six Feet Under, which completed its fifth and final season in 2005. The chapter considers how home and at-homeness are portrayed in the series, drawing on two contrasting phenomenological conceptions: First, Edmund Husserl’s homeworld/alienworld as interpreted by Anthony Steinbock in Home and Beyond (Steinbock 1995); and, second, Kristen Jacobson’s being-at-home (Jacobson 2009). The argument is made that an open sense of at-homeness, grounded in family and place, allows for personal and communal transformation partly impelled by unsettling moments when characters suddenly encounter, in their home lifeworld, compelling situations and understandings before out of sight—i.e., the uncanny.

Key words: home, at-homeness, dwelling, homeworld, alienworld, being-at-home, uncanny, place, phenomenology, phenomenology of home, Alan Ball, Six Feet Under

Investigating the C.S.I. Effect: Is the viewing of forensic-science television programming related to attitudes that could affect jury behavior?

by Susan Hamburg Huelsing Sarapin

Master's Thesis

This study reports the results of a questionnaire that was completed by 97 undergraduate students at a large... more This study reports the results of a questionnaire that was completed by 97 undergraduate students at a large Midwestern university. The purpose of the questionnaire was to investigate the phenomenon of the "CSI Effect"--the belief that watching TV programming that depicts criminal trials may influence viewers' expectations about the real world practice of jurisprudence. Specifically, the "CSI Effect" posits that "CSI" jurors, as opposed to those who do not watch this type of TV programming, have a: (1) greater expectation of seeing physical evidence at trial; (2) a greater need for certainty of guilt before voting for conviction; and (3) a greater likelihood of acquitting the defendant when little or no physical evidence is presented, and of convicting the defendant when a great deal of forensic evidence is presented. The results of the study reveal that: both "CSI" viewers and general TV viewers have an unrealistically high expectation of seeing forensic evidence; viewers of general TV, not crime-oriented programming, have a greater need for certainty of guilt at lower levels of evidence before convicting; and "CSI" viewers are more likely to acquit the defendant when little or no scientific evidence is presented. The research question exploring the effect of sex and crime-oriented viewing was also supported. Limitations of the study are discussed and directions for future research are outlined.

Programming obesity and poor fitness: the long-term impact of childhood television

by Erik Landhuis

"Chasing the White Rabbit to Find a White Polar Bear: Lost in Television”

by Angela Ndalianis

IN Reading Lost: Perspectives On A Hit Television Show, ed. Roberta Pearson, I.B.Tauris, London. 2009, pp.193-310.

Parole & Media. Talk show, social network e dintorni

by Lorenzo Denicolai

Published as ebook to "Il Glifo - edizioni elettroniche", october 2011.

TV and the Web are similar because they share patterns of involvement that lead us into a state of emotional... more TV and the Web are similar because they share patterns of involvement that lead us into a state of emotional belonging, and the development of thought and common sense. Both are stage for the the Word. In the age of "Orality return" typical patterns of oral transmission of knowledge insistent resurface in television programs and in social networking platforms.

Stuck in the Blender: Genre and Racial Hybridity in Joss Whedon’s Firefly

by Jenni Fong

Joss Whedon’s 2002 series Firefly only aired eleven episodes on the Fox network before facing cancellation. While many... more Joss Whedon’s 2002 series Firefly only aired eleven episodes on the Fox network before facing cancellation. While many industrial factors contributed to its demise—such as its poor time slot, mishandled marketing, and the network’s questionable decision to air the series out of order—one common factor that ran through many reviews at the time was its seeming generic schizophrenia. Pitched as “Stagecoach in space,” Firefly attempted to embody the space Western to a far greater extent than any series—including Star Trek’s “Wagon Train through space”—had ever done before. This first part of this paper will examine how Firefly  negotiates and blends the disparate genres of the Western and science-fiction on both abstract and physical levels; that is, in both ideas and aesthetics.

Firefly also claimed to display blending and hybridity in its fictional future: A world run by the two remaining superpowers of China and the United States, where Eastern and Western cultures have become so intermixed as to become indistinguishable. The program’s assertions of cultural blending become suspect, however, when the severe lack of Chinese faces in the Firefly universe is taken into account. The second half of this paper will thus explore the racial politics of Firefly: Does its use of Eastern culture qualify as blending, homage, or appropriation? Ultimately, I hope to prove through close textual analysis that Firefly is an uneven product whose attempts at hybridization are at times nearly seamless and at other times well-meaning, but deeply and utterly flawed.

The representation of fatherhood on contemporary popular television.

by Claire Reynolds

This was an essay written for my Television, Representation and Gender module at university.

As a film and screen studies student I have to watch a lot of television and, when asked to look at contemporary... more As a film and screen studies student I have to watch a lot of television and, when asked to look at contemporary television for university, the representation of fatherhood immediately stood out for me. Most of the portrayals of fatherhood on television are shockingly narrow-minded, typical and unprogressive. The Fatherhood Institute is a great site for information for and about fathers and I found it invaluable for writing this piece. Fathers predominantly get a bad name in the media. It is time to change. Choosing to look to Shameless, the piece will explore the representations of fatherhood on television.

Ugly Betty in Turkey (2011)

by Laurence Raw

A look at the Turkish version of the hit American comedy UGLY BETTY,which ran for two seasons on private channels in... more A look at the Turkish version of the hit American comedy UGLY BETTY,which ran for two seasons on private channels in the early part of the Noughies. It looks at the way in which the format was localized as well as incorporating local cinematic traditions inspired by Yesilcam melodrama.

Yemekteyiz - A Review of the Turkish version of 'Come Dine with Me' (2010)

by Laurence Raw

Come Dine With Me (2005 - ), the Channel 4 programme, has proved a notable ratings success – so much so that the... more Come Dine With Me (2005 - ), the Channel 4 programme, has proved a notable ratings success – so much so that the format has been exported to several countries, including Germany, Hungary, Greece, Spain and Turkey – where it occupies a large slice of prime-time programming on the private channel Show TV with the title Yemeketyiz. The format is simple enough: five amateur chefs compete against one another, hosting a dinner party for the other contestants. We watch them buying and cooking the food, and then presenting it. The other contestants comment on what they eat – usually in filmed inserts – and at the end of the programme give a mark out of ten. The programme's attraction consists not so much in watching the food being prepared or eaten, but rather discovering how the ritual of preparing an evening meal reveals prevailing attitudes towards nation, gender and class. 

L337 Soccer Moms: Conceptions of" Hardcore" and" Casual" in the Digital Games Medium

by Steven Boyer

Master's Thesis, Georgia State University, 2009