Summary
Samenvatting Television and Digital Convergence
- Course
- Institution
Samenvatting van slides en notes exam: open questions on texts and lectures
[Show more]
Seller
Follow
XW
Content preview
TELEVISION AND DIGITAL CONVERGENCEINHOUD
1. Television studies .......................................................................................................................................................... 6
1.1 What is television? .................................................................................................................................................. 6
TV changes ................................................................................................................................................................ 6
TV 1.0: broadcasting ................................................................................................................................................. 6
TV 2.0: digital tv ........................................................................................................................................................ 7
is it Still television? .................................................................................................................................................... 7
1.2. Studying television ................................................................................................................................................. 8
what is television studies? ........................................................................................................................................ 8
Roots of television studies ........................................................................................................................................ 9
1.3. Aspects of television ............................................................................................................................................ 10
2. Broadcast TV ............................................................................................................................................................... 13
2.1. TV history ............................................................................................................................................................. 13
Bignell & Fickers (2008): Concepts and tensions in history of television ............................................................... 13
2.1.1. Tv spheres: private vs. public ........................................................................................................................ 13
2.1.2. TV spaces: national versus transnational, regional versus global................................................................. 13
2.1.3. Television institutions: public service versus commercial television............................................................ 14
2.1.4. TV audience: active versus passive audiences .............................................................................................. 14
2.1.5. Television technologies: transmission versus reception .............................................................................. 14
2.1.6. Television discourses: between hopes and fears ......................................................................................... 14
2.1.7. Television norms: high versus low quality .................................................................................................... 15
2.1.8. TElevision rituals: ordinary versus event ...................................................................................................... 15
2.1.9. Television politics: democratic versus totalitarian ....................................................................................... 15
2.1.10. Television changes: old versus new ............................................................................................................ 15
2.2. Stages of TV history.............................................................................................................................................. 15
2.2.1. Ellis 2000 ....................................................................................................................................................... 15
2.2.2. Johnson 2019 ................................................................................................................................................ 16
2.3. Characteristics of boradcast TV ........................................................................................................................... 16
2.3.1. Ellis, J (1982): technology leading to specific forms and aesthetics ............................................................. 16
2.3.2. Viewing experiences of tv viewing in broadcasting era ................................................................................ 16
2.3.3. Implications for form .................................................................................................................................... 17
2.4. Scheduling ............................................................................................................................................................ 17
2.4.1. Bignell, J. (2013) ............................................................................................................................................ 17
2.4.2. Bruun (2020): five functions ......................................................................................................................... 18
Critical reflection ......................................................................................................................................................... 18
,3. Television 2.0 .............................................................................................................................................................. 18
3.1. Convergence ........................................................................................................................................................ 18
3.2. Impact of convergence on tv ............................................................................................................................... 19
3.2.1. Individualisation ............................................................................................................................................ 19
3.3. The end of tv? some voices .................................................................................................................................. 22
3.3.1. Catherine Johnson (2019) ‘Online TV’ .......................................................................................................... 24
4. TV production and distribution ................................................................................................................................... 25
4.1. Macro view: the TV industry ................................................................................................................................ 25
4.1.1. Technological changes .................................................................................................................................. 25
4.1.2. Political changes ............................................................................................................................................ 25
4.1.3. Economic changes ......................................................................................................................................... 25
4.2. Micro view: tv program production ..................................................................................................................... 28
4.2.1. Cost reduction ............................................................................................................................................... 28
4.2.2. Home-grown programs ................................................................................................................................. 28
4.2.3. Production routine ........................................................................................................................................ 28
4.3. Distribution .......................................................................................................................................................... 29
5. Texts ............................................................................................................................................................................ 31
5.1. Analysing TV programs......................................................................................................................................... 31
5.2. Introduction to semiotics ..................................................................................................................................... 33
5.3. Semiotic analysis of TV ......................................................................................................................................... 35
5.4. TV realities............................................................................................................................................................ 37
6. Audiences .................................................................................................................................................................... 39
Discussion about tekst of cases .................................................................................................................................. 39
6.1. The importance of audiences .............................................................................................................................. 40
6.1.1. The economics of watching television ................................................................................................... 40
6.1.2. Ratings: measuring audiences....................................................................................................................... 41
6.1.3. Targeting audiences ...................................................................................................................................... 41
6.1.4. Prehistory of TV studies engagement with audiences .................................................................................. 41
The most popular television series (1986 - 2019)................................................................................................... 41
6.2. Active audiences .................................................................................................................................................. 41
6.3. Qualitative audience research ............................................................................................................................. 43
6.3.1. Audience research from the 1980s ............................................................................................................... 43
6.3.2. Criticism on active audience theory.............................................................................................................. 43
6.3.3. Global and diasporic audiences .................................................................................................................... 44
6.3.4. Television audiences and cultural identity.................................................................................................... 44
6.4. Fan audiences ...................................................................................................................................................... 44
6.5. Audience 2.0 ........................................................................................................................................................ 45
7. TV cultures .................................................................................................................................................................. 47
, 7.1. The globalization of TV......................................................................................................................................... 47
7.1.1.Barker & Jane 2016 ........................................................................................................................................ 47
7.1.2. Global electronic culture ............................................................................................................................... 47
7.1.3. Bignell 2013: Global news ............................................................................................................................. 47
7.2. The persistence of national TV............................................................................................................................. 48
7.2.1. Barker 1999: Does TV unite the nation? ....................................................................................................... 48
7.2.2. Morley 2004 .................................................................................................................................................. 48
7.2.3. Waisbord 2004: TV nations ........................................................................................................................... 48
7.2.4. Globalization and the crisis of national media .............................................................................................. 48
7.2.5. The persistence of the national .................................................................................................................... 49
7.2.6. TV contributes to nation in three ways......................................................................................................... 49
7.2.7. Turner (2009) ................................................................................................................................................ 49
7.3. Global/Local ......................................................................................................................................................... 50
7.3.1. Moran 2009: formats .................................................................................................................................... 50
7.3.2. Bignell 2013 ................................................................................................................................................... 50
8. Quality ......................................................................................................................................................................... 51
8.1. What is quality drama? ........................................................................................................................................ 51
8.1.1. Nelson 2007: High-end drama ...................................................................................................................... 51
8.1.2. TV drama studies........................................................................................................................................... 51
8.1.3. Cinematic television ...................................................................................................................................... 51
8.1.4. Technological context ................................................................................................................................... 52
8.1.5. Industry context ............................................................................................................................................ 52
8.1.6. Television’s pleasures ................................................................................................................................... 52
8.1.7. Blurred boundaries: generic and cultural hybridity ...................................................................................... 52
8.2. Characteristics of quality drama .......................................................................................................................... 52
8.2.1. Visual style .................................................................................................................................................... 53
8.2.2. Bignell 2013: talking about style and value .................................................................................................. 53
8.2.3. Identifying quality TV drama ......................................................................................................................... 53
8.2.4. Quality and authorship ................................................................................................................................. 54
8.3. Channels and brands ............................................................................................................................................ 54
8.3.1. Also on streaming services............................................................................................................................ 55
8.4. Criticizing discourses on quality TV ...................................................................................................................... 55
8.4.1. Other programs may also be valuable ......................................................................................................... 55
8.4.2. Discourses about quality TV are problematic ............................................................................................... 55
Guest lecture: Television in south africa- Olja Rudic ...................................................................................................... 58
Introduction ................................................................................................................................................................ 58
Artikel De Morgen: Interracial kiss angers racist ‘7de Laan’ viewers (2019) ........................................................... 58
Brief history ................................................................................................................................................................. 58
, Development of South African Television: 1976- 1990 .............................................................................................. 59
‘End of apartheid: 1990- 2000 ................................................................................................................................ 59
South african television in a globalised world context ............................................................................................... 59
Edutainment............................................................................................................................................................ 59
Conclusion ................................................................................................................................................................... 59
Guestlecture: Netflix speaks arabic. Arabs speak Netflix – Haddad ............................................................................... 60
Context: Netflix vs. ShahidVIP ..................................................................................................................................... 60
Research questions ..................................................................................................................................................... 60
Theory, concepts and literature highlights ................................................................................................................. 60
Transnationality ...................................................................................................................................................... 60
Creativity & the screen idea .................................................................................................................................... 60
Methodology ........................................................................................................................................................... 61
Findings ....................................................................................................................................................................... 62
1. Negotiation transnationality ............................................................................................................................... 62
2. Negotiation novelty (the scree idea system) ...................................................................................................... 62
Conclusions ................................................................................................................................................................. 62
Discussion.................................................................................................................................................................... 62
Guest lecture: Sexual and gender diversity in youth& children’s media- Van Wichelen ............................................... 63
Sexual & gender diversity: what’s in the name?......................................................................................................... 63
1. Representation........................................................................................................................................................ 63
Evolution over the years ......................................................................................................................................... 63
Three phases in deception ...................................................................................................................................... 63
Children and sexual & gender diversity → PHD research....................................................................................... 63
2. Production............................................................................................................................................................... 64
Production study ..................................................................................................................................................... 64
Why include sexual and gender diversity? ............................................................................................................. 64
How to include LGBTQ characters?......................................................................................................................... 65
More nude, more progressive?............................................................................................................................... 65
How do we improve? .............................................................................................................................................. 65
3. Reception ................................................................................................................................................................ 66
What do parents think of current lgbtq representation in children’s media? ....................................................... 66
Follow up study: What do parents think of current LGBTQ representation in children’s media? ......................... 67
4. (Digital) reception: case study of wtFock ................................................................................................................ 68
What does all of this mean when the storyline revolves around LGBTQ issues? ................................................... 68
Methodology and sample ....................................................................................................................................... 69
Findings ................................................................................................................................................................... 69
Conclusion: wtfock and online support vor lfbtq issues? ....................................................................................... 69
Guest lecture: Media research- Jo martens .................................................................................................................... 70
The benefits of buying summaries with Stuvia:
Guaranteed quality through customer reviews
Stuvia customers have reviewed more than 700,000 summaries. This how you know that you are buying the best documents.
Quick and easy check-out
You can quickly pay through credit card or Stuvia-credit for the summaries. There is no membership needed.
Focus on what matters
Your fellow students write the study notes themselves, which is why the documents are always reliable and up-to-date. This ensures you quickly get to the core!
Frequently asked questions
What do I get when I buy this document?
You get a PDF, available immediately after your purchase. The purchased document is accessible anytime, anywhere and indefinitely through your profile.
Satisfaction guarantee: how does it work?
Our satisfaction guarantee ensures that you always find a study document that suits you well. You fill out a form, and our customer service team takes care of the rest.
Who am I buying these notes from?
Stuvia is a marketplace, so you are not buying this document from us, but from seller XW. Stuvia facilitates payment to the seller.
Will I be stuck with a subscription?
No, you only buy these notes for $10.42. You're not tied to anything after your purchase.
Can Stuvia be trusted?
4.6 stars on Google & Trustpilot (+1000 reviews)
78998 documents were sold in the last 30 days
Founded in 2010, the go-to place to buy study notes for 14 years now