Regards,
Max Havelaar van Essen
I’ve been working on a new, fourth edition of Television and I greatly expanded the methods chapter. In fact, it got so long that I divided it into two chapters. I also moved the MC discussion to an appendix as I think TV studies is now able to stand on its own, rather than being recognized as “not MC”. The fact that 8 or 9 books with “television studies” in their titles have been published since 1998 suggests to me that the discipline has come of age, regardless of the slipperiness of its definition.
I look forward to seeing what you come up with!
Regards,
P.S. As I discovered as I was recently exploring the origins of the phrase:
The first mention of ‘television studies’ in Cinema Journal was in Jane Feuer’s 1982 review of a BFI monograph on the British soap opera, Coronation Street. And ‘television studies’ first appears in Screen in an ahead-of-its-time 1971 comment by Edward Buscombe about the SEFT Summer School: ‘Everyone agreed, I think, that it was high time television studies were developed, and that next year’s Summer School should be a much more ambitious programme on the same subject.’
]]>Truthfully, though: I like the “two of three” rule of thumb, but I do think it’s a little restrictive, or seems so when you talk about it. Instead, I think the statement about being “mindful” that TV always has industrial contexts, representational strategies, and audience uptake is closer to the definition I have: so, for instance, a purely textual analysis won;t necessarily address industrial contexts, but will recognize within its analysis their presence and the ways in which they might shape textual strategies.
A related element of TV studies, then, might be working from a Gramscian theory of hegemony, via Hall, that sees each of these moments–production, text, reception– as contingent and contested, shot through with attempts to secure and resist social consent. For my money, when I start insisting that something I’ve read “isn’t TV studies” it’s usually because it has a singular reading of a particular phenomenon (series, genre, industrial development, reception practices) that doesn’t account for that contingency, or that presumes an absence of struggle in one of the three moments.
]]>FWIW, this is the relevant quote from Television & American Culture (p. 8): “We can consider all six facets of television as individual points in a broader circuit of culture model, in which all parts are interconnected to comprise American television. Any approach that excludes or overemphasizes one part of the circuit cannot account for the complexity of television. Thus this book promotes a multidisciplinary approach that considers all six facets of television both on their own terms and wired within a larger circuit.”
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