ࡱ> lnka sDjbjbA]A] $^+?+?q>X X X 8 , 4) LH!H!H!H!H! h! t!A)C)C)C)C)C)C),+R-Ro)|!H!H!|!|!o)|&H!H!)|&|&|&|!pH!H!A)|&,d@|!A)|&|&() CX $ ))$)0))*.|&*.)|&TTTELEVISION THEORY (blok 4 2008) 200501224 prof. dr. William Uricchio  HYPERLINK "mailto:uricchio@mit.edu" uricchio@mit.edu meetings by appointment The bundle of technologies, institutions and practices that we call television is undergoing unprecedented change or so it seems. In fact, depending upon how one defines the medium, it has almost always been in a state of change barring the few decades of stabilization imposed by industrial and governmental agencies. The goal of this course is to examine the underpinnings of television as a medium and to explore some of the key concepts that have given it form and cultural meaning. Rather than looking at television texts (programs, narratives, genres), we will be examining television as text, that is, at the ways that television has been imagined, deployed and thought about during its long history. And we will be doing so informed by the challenges and transformations that are currently facing the medium. The underlying assumption of the course is that theory can help us to systematize our thoughts, anticipate change, assess implication, interrogate old assumptions, and better understand and play a role in the changes that are afoot. The sequence of topics in the course might broadly be translated in philosophical terms as televisions ontology (what it is), its epistemology (the nature of its knowledge), its phenomenology (the nature of its experience) and implicitly questions regarding its teleology (or developmental logic). In simpler language, we will be concerned with understanding what, precisely, television is, since its definitional frameworks determine many of the questions that we might ask of the medium. We will also examine some of the key terms that have been used at different times to describe televisions relationship to the world and its viewers notions such as liveness, simultaneity, storage, flow, repetition, and ubiquity. These terms have been selectively deployed, rejected, and remediated at different moments in the mediums history, and offer access to a wide-range of attendant cultural practices both on the part of the industry and audiences. We will explore several of the most important transformations taking place in the experience of television by considering the processes of digitalization and globalization, the discursive construction of televisions viewers, and some of the ensuing changes to program forms and logics. And all of this will be framed by an attempt to understand where the medium is headed: are we facing what Elihu Katz calls the end of television? or is the medium circling back to something like its original conception, enabled through digital technologies? What scenarios are likely to play out over the mediums future? The form of the course is a seminar, which is to say that critical and careful reading of the materials before class is essential for an informed discussion. Some of the readings are quite straightforward, and others more difficult, but together they represent a range of encounters with a uniquely dynamic medium, one moreover, that serves as a heuristic device in thinking about media change generally. Students are expected to participate in discussions. The goals of the course are: to provide insight into the conceptual framing of television as a medium; to reflect on televisions defining theoretical components, and interrogate and historically locate the twists and turns in their deployment; to pose questions regarding the future of the television medium, and offer strategies for answering them. to systematize and articulate our experiences as viewers and scholars at a moment of media change. Course readings are in the form of PDFs and Word documents, and can be found at http://web.mit.edu/uricchio/Public/television/ Along with the required and recommended readings, you will find many situated bits of evidence in the form of articles about new directions in television, as reported over the past three years by the press (in this case, usually the New York Times). Grading will be based on participation and the first assignment (30%), final paper outline & bibliography (20%) and a final written paper (50%). Students seeking advice regarding further reading or those encountering difficulties with the course material are strongly encouraged to meet with the instructor early in the course. Because this is a seminar, attendance is required. Please note: in all email correspondence, please use the subject header UU TV COURSE. Correspondence and assignments may be written in Dutch or English. Extra Lectures: several extra lectures will be organized outside of class. These are optional, and the details will be provided once we can work out times when most people can attend. Finally, consistent with the institutes and the universitys policies, plagiarism of any kind will not be tolerated. Course schedule: 5/5 Preliminary Assignment: Exploring Fitna in broadcast, cable and internet environments. Please see first assignment at the end of this document. Your short response is due before class on 19/5. 19/5 Television in Transition: the many lives of Geert Wilders Fitna John Alderman, Sarah Borruso, Erik Adigard, Exploding TV (please look over the categories that these authors see as the future of television). We will discuss the changes facing the television medium through the example of the Fitna controversy and the questions it raises. 21/5 The Trouble With Television: definitions, assumptions, dynamics Lisa Gitelman, Introduction: Media As Historical Subjects, in Always Already New: Media, History and the Data of Culture (Cambridge: MIT Press, 2006): 1-22 J. Borland & E. Hansen, The TV is Dead. Long Live the TV, Wired (March 2007)  HYPERLINK "http://www.wired.com/entertainment/hollywood/news/2007/04/tvhistory_0406" http://www.wired.com/entertainment/hollywood/news/2007/04/tvhistory_0406 Amanda Lotz, Understanding Television at the Beginning of the Post-Network Era, The Television Will be Revolutionized (New York: NYU Press, 2007): 27-48 David Thorburn, Television Aesthetics, The Television Encyclopedia, ed. Horace Newcomb, 2nd edition (London: Taylor and Francis, 2004) (recommended): Stephen Heath, Representing Television, in Patricia Mellencamp, Logics of Television: Essays in Cultural Criticism (Bloomington: University of Indiana Press, 1990): 267-302 26/5 Television Before Television: the status of anticipation Rudolf Arnheim, A Forecast of Television (Intercine, 1935) in Film as Art (Berkeley: University of California Press, 1957): 188-198 Erkki Huhtamo, From Kaleidoscoamniac to Cybernerd: notes towards an archaeology of media, in Tim Druckery, ed., Electronic Literature: Technology and Visual Representation (London: Aperature Foundation, 1996): 297-303 Richard Koszarski, Coming Next Week: Images of Television in Pre-War Motion Pictures, Film History 10 (1998): 128-141 (recommended) Albert Abramson, The Invention of Television, in Anthony Smith, Television: An International History (Oxford: Oxford University Press, 1995): 13-34 (recommended) John Durham Peters, Radio: Broadcasting as Dissemination, in Speaking into the Air: A History of the Idea of Communication (Chicago: Chicago University Press, 1999): 206-225 28/5 Liveness & Simultaneity Jerome Bourdon, Live Television is Still Alive: On Television as An Unfulfilled Promise, in R. Allen and A. Hill, The Television Studies Reader (London: Routledge, 2004): 182-195. Philip Auslander, Live Performance in a Mediatized Culture, in Liveness (New York: Routledge, 1999): 10-60 (recommended) Jostein Gripsrud, Broadcast Television: The Chances of its Survival in the Digital Age, in Lynn Spigel and Jan Olsson, Television After TV: Essays on a Medium in Transition (Durham: Duke University Press, 2004): 210-223 2/6 Storage Technologies & Repetition William Uricchio, Technologies of Time, in Jan Olsson and John Fullerton, eds., Allegories of Communication: Intermedial Concerns from Cinema to the Digital, (Eastleigh: John Libbey, 2004): 123-138 Derek Kompare, Acquisitive Repetition: Home Video and the Television Heritage, in Rerun Nation: How Repeats Invented American Television (New York: Routledge, 2005): 197-219 4/6 Flow Jostein Gripsrud, Television, Broadcasting, Flow: Key Metaphors in TV Theory, in C. Geraghty and D. Lusted, eds., The Television Studies Book (London: Arnold, 1998): 17-32 Raymond Williams, Chapter 4, Television, Technology and Cultural Form (New York: Schocken Books, 1975): David Gauntlett and Annette Hill, Television and Everyday Life, in TV Living: Television, Culture and Everyday Life (London: BFI, 1999): 21-50 (recommended): David Morley, At Home With Television, in Lynn Spigel and Jan Olsson, Television After TV: Essays on a Medium in Transition (Durham: Duke University Press, 2004): 303-323 9/6 Mobility & Ubiquity Anna McCarthy, The Rhythms of the Reception Area: Crisis, Capitalism, and the Waiting Room, in Lynn Spigel and Jan Olsson, Television After TV: Essays on a Medium in Transition (Durham: Duke University Press, 2004): 183-209 Max Dawson, Little Players, Big Shows Format, Narration, and Style on Televisions New Smaller Screens, (forthcoming) (recommended) Colin Sparks, The Global, the Local, and the Public Sphere, in R. Allen and A. Hill, The Television Studies Reader (London: Routledge, 2004): 139-150 (recommended) Michael Curtain, Media Capitals: Cultural Geographies of Global TV, in Lynn Spigel and Jan Olsson, Television After TV: Essays on a Medium in Transition (Durham: Duke University Press, 2004): 270-302 11/6 New Program Strategies: Learning from Lost Roberta E. Pearson, Lost in Transition: from post-network to post-television, (forthcoming) Derek Johnson, The Fictional Institutions of Lost: World Building, Reality, and the Economic Possibilities of Narrative Divergence (forthcoming)  HYPERLINK "http://www.lostpedia.com/wiki/Main_Page" http://www.lostpedia.com/wiki/Main_Page (explore this site and get a sense of how it relates to and extends the television program) 16/6 Trans media Extensions Catherine Johnson, Tele-branding in TViii: The network as brand and the programme as brand (forthcoming) [PDF = telebranding] Derek Kompare, Publishing Flow: DVD Box Sets and the Reconception of Television, Rerun Nation: How Repeats Invented American Television (New York: Routledge 2005) 18/6 no class 23/6 Redefining Distribution note: short, hardcopy (circa 2 page) outlines and bibliographies of your final paper are due in class. Amanda Lotz, Revolutionizing Distribution: breaking open the network bottleneck, The Television Will be Revolutionized (New York: NYU Press, 2007): 117-151. Michele Hilmes, Cable, Satellite, and the Challenge of Digital Media (Digital Distribution, Intellectual Property and the End of TV as We Know It?) in Michele Hilmes, ed., The Television History Book, (London: BFI, 2003): 13-18 Will Brooker, Television Out of Time: Watching Cult Shows On Download (forthcoming) 25/6 Portraying Televisions Audience Amanda Lotz, Recounting the Audience: integrating new measurement techniques and technologies, The Television Will be Revolutionized (New York: NYU Press, 2007): 193-214 Mia Consalvo, Cyber-Slaying Media Fans: Code, Digital Poaching, and Corporate Control of the Internet (forthcoming) Ellen Seiter, Qualitative Audience Research, in R. Allen and A. Hill, The Television Studies Reader (London: Routledge, 2004): 461-478 (recommended) Roger Silverstone, On the Audience, in Television and Everyday Life (London: Routledge, 1994): 132-158 27/6 Conclusions and New Beginnings Gilbert Seldes, Television and Radio (May 1937) ASSIGNMENTS: Preliminary assignment: due before class on 19/5. The written report should be submitted in digital form with the header UU TV COURSE and sent to uricchio@mit.edu On March 27 (2008), Dutch parliamentarian Geert Wilders released his long-awaited Fitna on-line. Seemingly intended for television release, the unseen film (combined with Wilders extremely conservative stance on immigration) provoked calls for a television boycott. Only the Dutch Muslim Broadcasting Company (NMO) offered television air-time an offer Wilders rejected. When it was finally released online, it provoked cyber attacks as well as charges of copyright violation, and despite being temporarily shutdown, it circulated widely. For more backstory, see  HYPERLINK "http://en.wikipedia.org/wiki/Fitna_%28film%29" http://en.wikipedia.org/wiki/Fitna_%28film%29 Your task is to consider how the web offered an alternate to traditional television distribution, and how web distribution altered the text and the texts relationship to its audiences. For example, by side-stepping the event of a television premier, Wilders also side-stepped the event of widespread demonstrationsand the threat of censorship. By putting the film on-line, he also altered not only the conditions of how people saw it, but also enabled responses from written comments, to video parodies to critical engagements. Plenty has been written about Fitna your assignment is to reflect on how Wilders and the video fit into a post-television landscape, and to explore some of the implications of the internet or IPTV (internet protocol television) -- as a viewing environment for both producers such as Wilders and for audiences (whether supportive, or critical, or merely curious). What does this controversial and curious case say about the future of television at a moment when the medium is very much in transition? Length: 1,000-2,000 words Final Assignment: [due date will be announced in class] The written report should be submitted in digital form with the header UU TV COURSE and sent to uricchio@mit.edu Scenario: Youve been hired as an independent consultant with the task of assessing the 10-20 year future of the television medium. Have we reached the end of television? Will new and as yet to be defined -- media pick up attributes that were once televisions (liveness, repetition, flow, dialogue/dissemination, etc)? Is there an advantage to using the historically flexible notion of television to incorporate new technologies and applications? Or would it be better to brand these new directions as autonomous media, and attempt to market them as new media to new markets? In what new directions will programs develop in order to take advantage of the new affordances of the medium? In preparing your assessment, you might consider some of the following questions: Where is the medium headed? How will it be delivered (technology)? where will it fit in peoples lives (lifestyle)? who will its audiences be? How will it be financed? How will it relate to other media? Do you anticipate any new configurations of the medium, new applications or uses? Can we expect gradual change or radical transformation? Although these questions are pragmatic, their answers can be found in the theoretical framing of the medium. Your job is to prepare and deliver a presentation on this topic, drawing from your understanding of the mediums defining elements and its techno-cultural history. The plausibility of your arguments, the ways that you creatively ground them in evidence (theoretical concepts, historical precedent, published articles, developmental trends in other media sectors, public trends, etc), and of course the elegance and persuasiveness of your written arguments, will determine your success. Output: You should prepare a written assessment of your findings, complete with references. This report should be on the order of 3,000 to 4,000 words, and may be written in Dutch or English. 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