Television Studies

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Television Studies (Bernadette Casey et al.,)

- Highlight Loc. 1065-67 | Added on Friday, November 15, 2013, 10:37 PM

In the past, criminals were obviously bad and police invariably good. However, in recent times the definition of the moral and the legal
has become clouded by the representation of bent cops and sympathetic villains.
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villains are virtually invisible, often making single appearances and adopting stereotypically evil identities at odds with normal identity.
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In short, the crime genre is seen as naturalising and legitimising repression and thereby contributing to the maintenance of a hegemonic
order.
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Crimes are solved using traditionally masculine qualities such as strength, courage, violence and self-sufficiency, so that there is no need
for exploration of feelings.
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violence on television may not influence the way someone behaves, but it may influence the way they see the world and their perception
of the risks the world presents to them.
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A narrative is integral to the process of storytelling. It Key concepts 101 structures content sequentially, so that words and images do not
appear arbitrarily but in an order that makes sense to audiences. This structure allows ideas, themes or characters to develop or move
forward in a coherent fashion. Narrative is an extremely important part of popular culture. Most forms of entertainment are structured
around narratives. It is narratives that draw us in, engage us and encourage us to keep reading, viewing or listening. The unfolding of
narratives is one of the principal sources of pleasure in media, including television, film or popular fiction.
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Stories are structured so that scenes relate to or build upon one another as we gradually learn more about a character, an idea or a plot.
Narrative also incorporates a sequential logic so that the order of scenes or sequences makes sense to us.
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one of the most important aspects of narrative: the use of what Roland Barthes (1974) termed the Television studies 102 hermeneutic
code. The hermeneutic code consists of three stages: 1 The enigma: this involves something that prompts us to ask a question about the
narratives development. In the case of television mysteries or thrillers the enigma will often be fairly straightforward: who did it? how will
they escape? who did we see moving furtively in the building that night? In the case of a sports event, we are engaged by the question of
who will win, by what score, and how certain players will perform. But the enigma may not be quite so dramatic. We may be asked to
wonder how a character may react to a piece of news, or how a relationship between two characters may develop. What is important, at
this stage, is that our interest is engaged by the narrative, so that we want to see how the enigma is resolved. 2 The delay: once our
interest in an enigma is aroused, that interest can be magnified or sustained by a sequence that delays the moment of resolution. The
delay sequence may refer us to the enigma and keep the enigma open. A scene in which characters speculate about an enigma (established
earlier) reminds us of our own curiosity and allows us the pleasure of our own speculation, or else keeps us in suspense. While the delay
sequence may appear to be a source of frustration, it is actually an important source of narrative pleasure in short, we enjoy the
speculation or the suspense. Indeed, an enigma that is quickly resolved loses its power as we have no time to dwell upon it. 3 The
resolution: having experienced the curiosity of the enigma and the teasing of the delay, the resolution gives us the pleasure of having our
curiosity satisfied. We know who did it, who won, who lived happily ever after, and so on. Although we tend to associate the resolution
with the end of a story, most narratives will be structured around an intricate series of enigmas, delays and resolutions. In some instances,
the resolution may create another enigmawe know who did it, now will they get caught?thereby driving the narrative forward and
sustaining our interest.
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It is the hermeneutic code that will make most narratives absorbing or compelling. Without this narrative code, we need something else to
sustain our interesta piece of music, for example, which may use narrative but can hold our attention without it.
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the psychoanalytical perspective can also be applied to the analysis of television so long as it is utilised with caution.
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He made the distinction between three parts of the unconsciousthe id (our instinctual drives), the super-ego (the constraints of parental
authority and/or society) and the ego. The conflict/tension between the id and the super-ego could be brought together in the egoas the
social, integrated individual. All this can be conceptualised as drives (often sexual or aggressive) fighting to gain precedence over socially
imposed rules, and coming together in an acceptable form, though some elements will become repressed.
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Lacan focuses on the mirror phase of the childs development, when the child recognises itself in the mirror and sees itself as both
perfect and as separate from the mother, for the first time. But what it sees is a perfect, coherent self, and the child has not until this time
experienced itself in this way So the child identifies with the image, but also sees it as other. This is internalised in what Lacan calls an ego
ideal. The moment when this happens incorporates both narcissism (love of self) and the childs entry into the symbolic order (through
language). The concept of the mirror phase has also been appropriated by film theory to explore a parallel experience in cinema-going
when we identify with characters on the screena more perfect vision of ourselves. Film theory has appropriated Freudian and Lacanian
analysis to explore the relationship between text and spectator. This has involved questioning the role of the text in producing a spectator
position
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the gaze of the camera, far from being neutral, is a male gaze. It is a camera as if through male eyes. Thus, in this view, the mechanisms
of the text inevitably position the spectator as a male voyeur

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Television Studies (Bernadette Casey et al.,)

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