blog 12- Terri

The episode that we reviewed this week of Chicago Hope was a great example of a Procedural television show being that it possessed several characteristics of the blue print established for this kind of broadcast. Immediately, when one tunes into the episode, a refresher or a “recap” took place of the previous episode that gave the audience the chance to be brought up to date of the last show. This is an example of an episodic television show (which is a broadcast that features new storylines from week to week rather than having one continuous plot that is carried on throughout the duration of a television season). Episodic television (according to the notes that we took in class last week) is usually what Procedurals focus on. I think the main reason behind this is to draw new audience members in from week to week regardless of whether they were able to view the previous episode.

The episode that we viewed this week gives the audience a really in depth look into an emergency room on a day when a patient’s death is being questioned as a possible result of the surgeons’ carelessness in the operating room. Over the course of the episode, the main characters find themselves in trouble with the law due to complaints from a patient’s mother who passed away after a brutal shooting. The woman believed that the surgeons of Chicago Hope “killed her son” according to the character Daniel Lyman who is a trauma physician at the hospital. The mother of the boy named Justin in the episode that passed away, felt like the doctors of the hospital gave up on her son. Her complaints led to an extensive investigation of the surgeons by attorney Charles Lamb. Each physician was placed in somewhat of a hot seat as they were thoroughly interviewed and given manipulating questions to answer which featured low lights and very close up camera work that added to the atmospheric nature of the episode which is a profound characteristic of Procedural television. The characters feel that the allegations are “wacked” and all a “lie” according to the character Daniel Lyman. As the attorney questions the characters, their nervousness and discomfort becomes clear in the camera angles, which include very close up shots in low lighting to help establish the intensity of the situation. The audience is even able to see the sweat pouring down the character’s faces as they recount the night in question to attorney Lamb. The lighting and camera work makes this show a clear example of a Procedural because it helps establish what a high stress environment such as an emergency room on a day-to-day basis looks like.

The whole episode is plot driven on the investigation of a teenager’s death and whether the surgeons at Chicago Hope were to blame for the youth’s passing. This is a characteristic of a Procedural television show (plot driven) and is an example of procedural realism. Only focusing on one plot draws the audience into the broadcast in substantial ways and establishes a big focus on the potential outcomes that could take place with in the episode. Even though this show wasn’t a television police or forensic procedural, it still possessed the same qualities that take place in order to produce a well-constructed procedural.

week 11

I’m going to write about the reality show genre and the different variations of these kinds of shows. It should be a relatively comfortable area for me for explore being that I have experience filming one of these shows. I think I’ll have a lot of options as far as finding criticisms because the genre is so popular in today’s society. I look forward to beginning research on my topic.

Blog 9: Dawson’s Creek

The pilot episode of Dawson’s Creek was full of entertaining twists and turns. It effectively introduced the audience to the main characters of the series all while establishing storylines, major plots and dilemmas that clearly unravel and take shape as the show unfolds. It was interesting to watch the show while taking note of the number of beats that were present during the pilot (I counted about twenty-five among the four acts). In the first act I counted six, in the second act, I counted about five, in the third act I counted six and in the fourth act, I counted eight. Out of all of the beats, the average time span was about two minutes (though they ranged from one to three minutes).

The beats included in the Dawson’s Creek pilot episode did a great job of recapping information for the audience as well as forecasting occurrences that would later evolve and become real climatic issues for the characters of the show. For example, one instance of foreshadowing that took place in the pilot was in the first act when the character Pacey meets Tamara Jacobs for the first time. There was a clear physical tension between the two characters even though Tamara is twice Pacey’s age. The two meet again later in the episode when it is revealed that Ms. Jacobs is Pacey’s teacher at his high school. More forecasting occurs at the very end of the episode when Tamara kisses Pacey and tells him that she sees him as a man “not a boy” (Pilot).

An example of the show recapping would also be in the case of Tamara and Pacey yet this time it is when Pacey speaks about his desire for Tamara to take his “virginity”. The main character Dawson quickly shot down this idea (just as he did when Pacey and Tamara first met) and insists that Pacey is daydreaming and pretty much out of his league.

There are several A plots in the pilot, primarily which are scenes between Dawson and Joey as their relationship evolves from childhood friends to a potential love connection. The B and C plots include the secondary characters such as the rocky relationship of Jennifer and her grandmother and the overly sexual events that take place between Dawson’s mother and father (Mr. and Mrs. Leery).

The main story line that takes shape through out the entire episode but ends up being resolved would be between Dawson and Joey who start the episode in Dawson’s room laying on his bed simply as friends. Joey brings up the topic of them growing and not being able to have the same friendly relationship any longer but Dawson announces to her that he wanted to remain “best friends, no matter how much body hair [we] acquire” (Pilot). As the episode takes shape though, their friendship is severely tested and eventually led Dawson to ask Joey “where do we go from here” (Pilot). At the very end of the episode though, the two do indeed make up which established their relationship as true friends no matter what they would go through.

Even though there was closure that took place in the episode, there were also several instances where storylines were left cliff hanging which I think was to help maintain the audience’s attention from week to week. A specific example of foreshadowing that resulted in an unresolved issue was when Dawson asks Joey if she thought his mother was “sleeping with her co anchor” (Pilot). It becomes clear at the end of the episode that Dawson’s mother was indeed having an affair. This became clear when Joey witnessed Dawson’s mother kissing her co-anchor at the end of the episode. By ending the episode that way, the audience gains a great deal of anticipation towards the next episode. Leaving the viewer guessing helps producers establish high ratings. I feel like there were more deferments than closure moments in the episode solely for this reason.

The narrative successfully breaks down all of the issues of the story line with the four part act structure by introducing different subjects in a fluid, clear way which allows the audience to understand all that is going on with out being too complicated.

An example of an open character arc would apply to Joey’s evolution over the course of the episode. She begins wanting to firmly establish a “friendship” between herself and Dawson but develops strong feelings for him and even becomes jealous of Dawson’s liking to the new girl in town Jennifer. This particular character arc played the biggest part in the show’s resolution because every occurrence primarily centers on Dawson and Joey’s relationship so it was extremely important for them to make up in order to continue out the series.

I found this episode to be very entertaining and enjoyed viewing it while taking into account other factors such as character arcs and beats that worked together to make this show as success.

Works Cited

“Pilot”. Dawson’s Creek. The WB Television Network. 20 Jan 20. 1998. Web

week 8 Frontier Blog

Even though the PBS Frontier House was outlined to be only an educational type of television show, it is clear that this broadcast has undertones of being similar to a modern day reality show because of the ranging personalities that are showcased. According to Rymsza-Pawlowska’s article entitled “Frontier House Reality Television and the Historical Experience” reality shows are based off characters “personalities that make

reality shows memorable” yet documentary style television is more focused on emphasizing  “specific incidents”. I happen to believe that the Frontier House television show successfully meets the objectives of both reality and documentary style television due to the fact that is was used to not only educate the audience but also entertain due to the appearance of ranging characters with extremely entertaining personalities.

The Frontier House broadcast could be viewed as a documentary style show because it “presented an account of an event” (Rymasza-Pawlowska) which was to help the audience gain a better understanding of exactly what life was like for settlers living on the frontier back in the late 1800s. Even though the broadcast showed “some reflection of individuals’ perceptions of the event”, it also was “concerned with the social actors” (Rymasza-Pawlowska). This is the reason why I feel like this show in particular had characteristics of both a reality and a documentary style telecast.

At first glance the Frontier House show appears to only be an educational broadcast, according to the Rymasza-Pawlowska article, Frontier House is “overtly truth telling and educational, another hallmark of the documentary genre. This is evidenced not only by the detailed descriptions of homesteader life and experience, but also by the manner in which the producers intend that Frontier House is viewed. This is made most evident on the show’s companion website, which is a detailed account of all aspects of the program”. The Frontier House broadcast had all of the necessary components of a good documentary style television show but it also had occurrences that looked reminiscent of a reality show as well.

An example of when the show looked similar to that of the blueprint of a modern day reality show with the broadcast The Frontier was when different members of the cast would sit down in something that looked like a confessional and talk mostly negatively about their counterparts. This is a major tactic used with the production of reality shows in efforts to stir up drama and add to the level of frustration and irritation of living in chaotic close quarters for extended periods of time. Cast members of a great deal of reality shows find themselves airing out their negative feelings in their confessionals as a means to express their feeling which in turn is a way for the producers of these shows to give the audience a better understanding of the characters’ personalities.

This broadcast not only is a documentary style show because it educates and focuses on a certain situation but is also has characteristics of a reality show because the distinct personalities being showcased as well as the presence of “non-celebrity” (Rymasza-Pawlowska) people to create a more authentic viewing experience for the audience. I personally think it’s very neat that this show doesn’t only fit into one mold, which allows it to not only educate but also entertain all while being relatable at the same time!

Works

Rymsza-Pawlowska, Malgorzata.  “Frontier House: Reality Television and the Historical Experience.”  Film & History 37.1 (2007): 35-42.  Print.

blog 7 smartest model by Terri

According to dictionary.com, the true meaning of “schadenfreude” is the “delight in another’s misfortune. The presence of reality shows in modern day television are filled with negative moments from cast members that are shown in efforts to make the viewing audience feel a sense of superiority over those that they are watching for entertainment. As a result of viewing reality shows with a plethora of humiliating occurrences on behalf of the cast, a great deal of audience members feel the need to boast about their new found sense of superiority either on blog websites or social medias which truly add to the popularity of the show and the individuals being broadcast. I feel like by making the audience feel superior that in turn producers of these shows are adding to their ratings because unfortunately people love to see others fail or hurting and will watch shows week after week to witness the demise of certain characters.

This is a subject that I can speak on personally being that I am a former reality show star from BET and I’ve experienced how it feels to be on the other end of one of theses shows and have people maliciously attack you due to their own feeling of schadenfreude or even jealousy when tuning into reality television. Producers purposely cut out positive footage that might showcase cast members in an uplifting light because they know that negativity is what the world craves for. Mills noted in the article “Television and the Politics of Humiliation” on page eighty-one that the producers of these shows have “no visible ethical core. They never ask themselves if they are taking advantage of people’s needs and vulnerabilities or if they have any obligations to those who agree to be on their programs. It clearly does not bother them to deceive a contestant”.

It is a very sick and twisted thing to be exposed to, but this is very typical of the format for reality television. Making the audience feel a sense of artificial superiority over cast members of reality shows makes them want to continue tuning in for some strange reason. Perhaps it because the majority of people in the viewing audience are secretly not happy and fulfilled in their own lives and they view reality television as an  outlet to let their hostile feelings run free as they criticize characters for how “dumb” or even “crazy” they are.

Unfortunately the world loves negativity so this is the primary reason why reality shows are in such high demand in modern day television. A great quote from the Mills article in reference to the issue of negativity with one reality show in particular (American Idol) is when he refers to the broadcast by saying the reason viewers watch the program is not to discover the next Kelly Clarkson. They watch to see what Simon Cowell, a member of the celebrity panel that judges the contestants, has to say. A British-born record executive, Cowell specializes in badgering hapless singers, and it is his put-downs that fans wait for each week”.

Seeing others look silly or hurt is the sole reason why viewers tune into reality shows. A perfect example of this is with the second episode of the reality show America’s Most Smartest Model. One of the cast members (Jesse) referred to his peer as “kinda dumb” because she continued to ask the same questions in a challenge that she didn’t’t even know the answer to. Things like this entertain the viewing audience and make them continue to tune in for enjoyment. The concept of schadenfreude is what the vast majority of reality shows are based on and it doesn’t seem as though this technique is going to be fading anytime soon in the immediate future.  I personally believe that the producers of these shows don’t feel like the viewing audience has enough substance to feel entertained from a show with an abundance of positivity, but after looking at the ratings of modern day reality shows that are based off of a blueprint of cast embarrassment, I feel like they might just be right!

Works Cited

Mills , Nicolaus. Television and the Politics of Humiliation. Dissent. 2004. 80-81. Print.

“Governor of Presidents”. “America’s Most Smartest Model”. VH1. Los Angeles. 7 October 2006.

Blog 6

The “New Jokes” article by Brett Mills thoroughly covers the sitcom genre with in-depth analysis paragraphs on the history of this type of television broadcast. The whole article gives the reader a better idea of the origins of the sitcom and even explores why this particular format has been so successful. One section of the article that I found extremely interesting and detailed was the second paragraph. It gives specific reasons why the sitcom genre has been so successful over the years, particularly in the United States. The basic implications of the second paragraph in the Mills article “New Jokes” are to expose what the clear format of the sitcom really happens to be. The general audience may not necessarily pick up on the fact that the vast majority of America sitcoms seem to stick to the same format but this paragraph helps us to understand why sticking to the familiar has always proven to be successful with the American sitcom.

Over the years, the American audience in particular has always seemed love comedic shows that fall into the same type of format. People most likely do not realize that the primary reason why they continue to take a liking to the same type of sitcom is that these shows often stick to a very distinct format, one that has proven to be very successful over time. Shows dating back as far as the 1950’s with “I Love Lucy” even to more up to date comedic broadcast such as “Fresh Prince of Bel Air” seem to include several of the same characteristics. One of those similarities would either be the presence of a live audience or the usage of a “laugh track” to give the effect of a full viewing audience. I believe that what is so interesting about the Mills article’s implications is that the sitcom’s success can primarily be attributed to the fact that the outline has remained consistent over the years. “The sitcom is a form with clear genre characteristics which are easily understood by audiences, and which have structured the genre since it first developed” (Mills 100). Remaining constant in the outline is most likely why the American audience has gravitated so substantially to the sitcom over the years. In a society that is ever changing and evolving, it is refreshing to be able to come home and watch comedic television shows that are entertaining time and time again.

According to the Mills article, the sitcom “now nearly seventy years old.. has been a powerful and consistent television form, which has dominated American television since the medium overtook radio—indeed, sitcom was one of the tools used by television executives to lure audiences to the new medium—consistently remaining at the top of US ratings” (Mills 100). The fact that this type of broadcast has indeed remained so “consistent” over the years in the primary reason why its success continues to grow. The implications of the second paragraph of the Mills article allows for the reader to grasp a greater understanding of the true blueprint of the sitcom. Having a more concrete idea of the format for the traditional sitcom allows for the reader to understand why this medium has remained so successful throughout time.

Works Cited

Mills, Brett. “New Jokes: Kath and Kim, and Recent Global Sitcom”. Metro Magazine 140 (2004): 100-102. Print.

I Love Lucy Blog

The pre-Seinfeld show I Love Lucy was a hit comedic television broadcast that debuted in 1951 and focused on the family life of a married couple. It involved a popular musician as a husband and a corky attention-seeking woman as a wife. The show debuted at a time when family life was heralded and was able to pull on the heart stings of American citizens during the time period. The show most definitely conformed to what was popular at that point in society with its focus on family life and marital happiness. “Television in the 1950s was an insistently domestic medium, abundant with images of marriage and family. The story of I Love Lucy’s humble origins suited the medium perfectly, because it told of how a television program rescued a rocky marriage, bringing forth an emotionally renewed and financially triumphant family” (Anderson).

Even though this purely episodic television show was relatively safe in its fun-loving storylines which usually focused on the adventures of a light hearted yet troublesome wife’s antics to become famous, there were certain times that the show made strides in breaking cultural barriers of popular lifestyles. A perfect example of the show I Love Lucy breaking conventions is the fact that this broadcast showcased an interracial couple and allowed for the viewing audience to learn the importance of embracing one another regardless of race. During the 1950’s there was a great deal of racial injustice going on in the United States so therefore showcasing an interracial relationship was a great way to help eliminate racial prejudice among the viewing audience.

Not many shows influenced I Love Lucy due to the fact that it was created very early on in the existence of television. This show was more of an innovator in television history and has paved the way for other sitcoms. This was one of the first shows to showcase humor in family life and set the standard for sitcoms to remain being “a form with clear genre characteristics which are easily understood by audiences” (Mills 100). The fact that this show was so easy to understand and focused on something that the majority of people in the viewing audience could relate to (family life) made the ratings sky rocket because it became very easy for people to follow and become entertained.

Sitcoms tend to focus on comedy centered on family life and this show was one of the first to showcase married life including all of the laughs and difficult times that are apart of being a family. This realness allowed for people to gravitate to the show and was the main reason why even when I Love Lucy “ceased production as a weekly series in 1957 it still [was] the number one series in the country. And its remarkable popularity has barely waned in the subsequent decades” (Anderson). I Love Lucy basically served as the blueprint for future shows and showcased the importance of focusing on the familiar when broadcasting sitcoms. This show paved the way for sitcoms and will forever be remembered for the way it brought martial comedy to life all while breaking barriers through television.

Works Cited

Mills, Brett. “New Jokes: Kath and Kim, and Recent Global Sitcom”. Metro Magazine 140 (2004): 100-103. Print.

Anderson, Christopher. “I Love Lucy: US Situation Comedy”. http://www.museum.tv. The Museum of Broadcast Communications. website. 3 February. 2011

Carnival Blog

Narrative complex television shows are special in that they have elaborate plots used to transfix a cult like viewing audience yet miss out on great percentages of expansion for viewer ship due to intense and drawn out story lines. Often times these types of shows garner a great deal of critical praise yet turn off a plethora of viewers due to overly complex themes that sometimes are difficult to understand and go over the audience’s heads. People tend to think of television as a means of solace and usually flock to shows that are easy to comprehend that they can relate to and find either amusing or entertaining yet shows such as Carnival that are extremely in-depth tend to turn off the viewer due to it’s complexity and overly elaborate back stories and underlying messages. Therefore the same thing (its intense complexity) that works towards the benefit of television shows like Carnival and attracts unique audiences and critical appeal also works against this type of show because the viewing audience tends to have a short intention span and doesn’t necessarily desire to have to scrutinize something that should be a simple as watching a television show.

After a long day of work, people in the viewing audience usually tend to come home eager and excited to catch the new episode of their favorite show, kick their feet up and relax. Present day society includes such an abundance of negative and draining social issues from day to day that often times, people who may not have the time or money to go a way on vacation, settle for coming home and catching their favorite broadcast on television to unwind. This is an activity that has become quite common for American people. This is my main point in examining the reason why the show Carnival never seemed to attract an overly large viewing audience because watching this show is more like work than relaxation being that the viewer must almost take notes as the episode goes on in efforts of to keep up with where the broadcast in going. This show is very confusing and all the part such as in the episode “Black Blizzard” were difficult to comprehend and didn’t seem to really relate to one another.

One minute the episode showed a sex scene between a sneaky prostitute and Samson (who was the over seer of the traveling Carnival which was the focus of the show) and then it showed an intense argument between the character Ben (who has special mind powers but chooses to deny his abilities) and Lodz (a blind mentalist who tries to encourage Ben to use his gifts to change the world). The show could be rather intense which explains the viewing audience that it did have, this broadcast is sure to keep one on their toes yet it also could be seen as being rather boring at the same time due to the fact that its based during a very glum time (The United States Depression) and tends to include rather sad themes.

Overall there were definitely pros and cons to this show; both of those have to deal with the complexity of the broadcast. Even though that same issue turned some off it surely was the same thing that keep the show gaining critical acclaim and the respect of the viewers that it did have.

Works Cited

“Black Blizzard.” Carnivale. 5 Oct. 2003. Television

Veronica Mars Blog

The Burton reading thoroughly discussed several methods of theoretical approaches in relation to critiquing modern day television. The particular method that stood out the most to me in regards to the pilot episode of Veronica Mars was the Marxist approach because it focuses “on economic determinism, class relations and the exercise of power and control within social structures” (Burton 17). I think this particular theoretical approach is a perfect description of the title character Veronica Mars’ struggle to make get through her high school days in one piece as a lower class girl who is constantly picked on by the rich and popular teenagers at her school.

She is often showcased as an outsider who doesn’t quite belong at a high school, which is full of students whose parents are either “millionaires or work for millionaires” (“Pilot”). She lives in a run down, old motel with her father and helps with his business as a private investigator just to make ends meat. This is something that the majority of her peers certainly can’t relate to being that most of them live very sheltered and pampered lifestyles.

The title character is constantly bullied mostly by egotistical male characters such as the local bike gang leader and by her ex boyfriend’s best friend who comes from a very rich and well known family in her town. Her ex boyfriend’s best friend even goes so far as to make fun of her for being molested and not knowing how she lost her own virginity. Another male character who gives Veronica Mars a very hard time is the local policeman. A perfect example of this would be when she went down to the police station to report being raped. The policeman smugly said to go find a “wizard” and “ask for backup” (“Pilot”). All of these examples of males over powering the female character are described in the Marxist theoretical approach. According to Burton “television represents power relations explicitly in, for example, the ways that programmes show men treating women” (17).

It often felt like the title character was all-alone and had no one to run to during all of her hardships. Even though she possessed such an overwhelming amount of strength due to the way she was able to seek revenge on her enemies such as planting a bong in her ex boyfriend’s best friend’s locker to make up for his bullying (“Pilot”), it still appeared as though she longed for the affection of someone such as a boyfriend. It becomes clear as the episode went on that there was definitely a power struggle between class and social structures among the title character who comes from a very low class upbringing and that of her ex boyfriend who comes from a rich and well-respected family life. The two are no longer together and it appears as though they could never rekindle their love due to their contrasting lifestyles. The Veronica Mars character said in this episode “the people you love, let you down” (“Pilot”). This quote is a perfect example of how the Marxist theoretical approach applies to this episode with the “exercise of power and control with in social structures” (Burton 17) because it pin points that often times, not even true love is strong enough to conquer the division amongst classes.

The struggle of class, power and social structure issues are subjects that are most apparent in the Veronica Mars pilot episode. Even though the character is strong and most definitely has the ability to overcome these obstacles, it’s still clear that’s these issues are present and are underlying tones showcased throughout the duration of the episode.

Works Cited

“Pilot.” Veronica Mars. 22 Sept. 2004. Television/UPN. 22 Jan 2011.

Burton, Graeme. “Critical Approaches to Television Studies.” Talking Television. London: Arnold, 2000. 13-40. Print. 22 Jan 2011.

blog 2: Mary Tyler Moore Show

The “Chuckles Bites The Dust” episode of The Mary Tyler Moore Show contains several instances of utter humiliation in regards to the character Chuckles’ untimely death. Several jokes are made in reference to his passing such as the way that he died and about the life that the man lived outside of his career as a working clown. The character Ted Baxter who is the head anchorman at the station that the character Mary Tyler Moore works at, even made comedic references to Chuckles’ personal life when he questioned on air with total ambivalence if Chuckles would be leaving behind a wife or if he was gay and of “the other kind” in his words.

The crew at the news station seems to find the whole ordeal incredibly funny and even went so far as to say that if the clown was dressed at a “peanut” that it would have made sense for him to be killed by an “elephant”. The cast continued to make jokes about the whole situation and then added that sometimes we all “laugh at something that scares you” as somewhat of a defense mechanism.

Habitual laughter is seen as a way to mask discomfort and even fear. In this episode of The Mary Tyler Moore Show, it becomes clear that the cast doesn’t quite know how to deal with their feelings in regards to Chuckle’s untimely death so they laugh as a means of coping.

This ambivalence directly relates to changing social roles because often times human beans tend to laugh at or pick on things that they don’t understand rather than learn to embrace and accept the evolving times. A perfect example of this topic with present day TV is with the show Everybody Hates Chris where the main character is continuously picked on by the school bully for being a smart black kid. The bully most likely feared the boy and wasn’t sure of how to interact with him so instead of opening up and becoming friends the bully continuously picks on the boy.

Overall fear changes the way people interact with one another as seen in the “Chuckles Bites The Dust” episode of The Mary Tyler Moore Show and sometimes the best way for people to contain this negative feeling is to laugh in the face of uncertainty.