Television Studies provides an overview of the origins, central ideas, and intellectual traditions of this exciting field.
What have been the primary areas of inquiry in television studies? Why and how did these areas develop? How have scholars studied them? How are they developing? What have been the discipline’s key works? This book answers these questions by tracing the history of television studies right up to the digital present, surveying emerging scholarship, and addressing new questions about the field’s relationship with the digital. The second edition includes an examination of how internet-distributed services such as Netflix have adjusted the stories, industrial practices, and audience experience of television.
For all those wondering how to study television, or even why to study television, this new edition of Television Studies will provide a clear and engaging overview of key topics. The book works as a stand-alone introduction and, by placing key works in a broader context, can also provide an excellent basis for an entire course.
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First, it has created entirely new sectors of the television industry about which there is much to learn. Secondly, the arrival of internet-distributed television has altered the ecosystem for all forms of television distribution.
Founding the Cultural Indicators Research Project, Gerbner, who understood television's force as that of a storyteller, remains best known for his explanation of televised violence's effect as creating “mean world syndrome.
But his medium theory also created something of a dead end, by freezing television in time and place, making its 1960s North American iteration seem natural and inherent, and eliding vast differences in programs, audiences, ...
Screen theory – developed in film studies as a way of examining the ideological work of film, and discussed further in Chapter 1 – saw media as creating and disciplining their own audiences, attributing greater significance to the ...
... arguing that culture and the creation of meaning were not restricted to the upper classes alone. As committed neo-Marxists, many within the CCCS shared a concern for the effects of the industrialization of cultural production, ...
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