Difference between pages "A History of TV Style (Discussion)" and "Beyond and Beside Narrative (Discussion)"

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(New page: ==All groups== #Explain the concept that goes by the terms, "technological manifest destiny" and "technological determinism." Why is it a mistaken notion when applied to TV? #*What are som...)
 
 
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==All groups==
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==Bill Nichols' terms==
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#Explain the concept that goes by the terms, "technological manifest destiny" and "technological determinism." Why is it a mistaken notion when applied to TV?
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Explain film scholar Bill Nichols' sense of the following terms:<ref>Bill Nichols, ''Representing Reality''.</ref>
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#*What are some examples that you've seen that prove this concept is wrong? (Don't rely on the examples in the book and you can refer to technology other than that involving video or TV.)
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*'''Groups 1 and 2:''' ''historical world'' or ''historical reality''
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#What is a kinescope? How were kinescopes created and what characterized how they looked? (See figures in ''Television'' and the online Clorox commercials. Which is the kinescope--the image on the left or the one on the right?)
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**Why does he prefer this term to "reality"?
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*'''Groups 3 and 4:''' ''social actor''
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**Why does he prefer this term to "individuals" or, simply, "people" in non-narrative works?
  
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== Group 1 ==
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==Modes of representation==
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#Outline the [[history of video editing]]. How did these technological changes have an impact on TV style?
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Television depicts historical reality and addresses itself to the viewer about that reality through four principal "modes". Individual genres and programs are not limited to one single mode, but instead draw upon each as needed.
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#Why type of editing equipment do you suppose was used to cut the following programs:
 
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#*''All My Children''
 
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#*''CSI'' (take your pick of the variations)
 
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#*''The Office''
 
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#*''The Cosby Show''
 
  
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==Group 2==
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Providing examples from the non-narrative television viewed in class (''Lobster Wars'', ''The Daily Show'', ''Two-A-Days'', ''Cops'', news coverage of an incident in Goražde) explain each mode:
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#List the elements of the production of ''[[I Love Lucy]]'' that make it significant to the history of TV style. Be prepared to explain ''why'' each element is important.
 
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#What are examples of recent (within the past five years) programs that are shot the same way that ''Lucy'' was shot?
 
  
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==Group 3==
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#'''Group 4:''' Expository (or rhetorical)
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#The history of color TV is very complicated. Create a [[history of color TV|timeline]] that lists the significant events leading up to color TV's widespread implimentation.
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#'''Group 1:''' Interactive
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#What impact did color technology have on TV style?
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#'''Group 2:''' Observational
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#What is the NTSC and why was it created?
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#'''Group 3:''' Reflexive
  
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==Group 4==
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==''Two-a-Days: Hoover High''==
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#When did [[history of the remote control|the remote control]] first appear and what were the names of the early devices?  
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*How does ''Two-a-Days'' impose elements of narrative on “reality”? What specific aspects of serial narrative structure does the program employ?
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#*How did they work?  
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*How does it bring together several different genres?  
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#How do modern remote controls work and when did they become commonly used?
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*How is its use of sport/competition different from that of ''Survivor'' or ''The Amazing Race''?  
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#What have broadcast networks done to try to combat zapping?
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*How is its representation of sports (specifically football) different/similar to how ESPN covers sports?
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*"It is possible that there will be some stereotyping going on with all the editing," [Blair] Blanton said. "But I just hope people will get to know the real me and not the show me." (CW article, ending line).
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**What term would Nichols use instead of “the show me”?
  
 
== Bibliography ==
 
== Bibliography ==
 
#Butler, Jeremy G. ''Television: Critical Methods and Applications''. Mahweh, NJ: Lawrence Erlbaum Associates, 2007.
 
#Butler, Jeremy G. ''Television: Critical Methods and Applications''. Mahweh, NJ: Lawrence Erlbaum Associates, 2007.
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==References==
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<references/>
  
 
==External links==
 
==External links==
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* [http://www.tcf.ua.edu/EO/DV/Clorox.htm Clorox commercials] (password protected).  Which one is a kinescope?
 
  
 
[[Category:TCF311]]
 
[[Category:TCF311]]
 
[[Category:TCF311 Discussion]]
 
[[Category:TCF311 Discussion]]

Revision as of 18:46, 9 September 2008

Bill Nichols' terms

Explain film scholar Bill Nichols' sense of the following terms:[1]

  • Groups 1 and 2: historical world or historical reality
    • Why does he prefer this term to "reality"?
  • Groups 3 and 4: social actor
    • Why does he prefer this term to "individuals" or, simply, "people" in non-narrative works?

Modes of representation

Television depicts historical reality and addresses itself to the viewer about that reality through four principal "modes". Individual genres and programs are not limited to one single mode, but instead draw upon each as needed.

Providing examples from the non-narrative television viewed in class (Lobster Wars, The Daily Show, Two-A-Days, Cops, news coverage of an incident in Goražde) explain each mode:

  1. Group 4: Expository (or rhetorical)
  2. Group 1: Interactive
  3. Group 2: Observational
  4. Group 3: Reflexive

Two-a-Days: Hoover High

  • How does Two-a-Days impose elements of narrative on “reality”? What specific aspects of serial narrative structure does the program employ?
  • How does it bring together several different genres?
  • How is its use of sport/competition different from that of Survivor or The Amazing Race?
  • How is its representation of sports (specifically football) different/similar to how ESPN covers sports?
  • "It is possible that there will be some stereotyping going on with all the editing," [Blair] Blanton said. "But I just hope people will get to know the real me and not the show me." (CW article, ending line).
    • What term would Nichols use instead of “the show me”?

Bibliography

  1. Butler, Jeremy G. Television: Critical Methods and Applications. Mahweh, NJ: Lawrence Erlbaum Associates, 2007.

References

  1. ↑ Bill Nichols, Representing Reality.

External links

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