Usapang

TV

o may saysay ba ang pagiging

couch kamote?

Mga pinagdidiskitahan:
Usapin ng estetika at
kulturang popular--gamit at
pagbibigay aliw
Sinong tumatangkilikat ano
ang kanilang k?

Katangian
Porma
Disenyo at teknolohiyausapan ng palakihan,
palakasan, at pagaraan
Transpormasyon ng materyal na datos sa imahen;
light and visuality
Lunan ng panonood-domesticity/collectivity
okasyon ng pagbubuklod
Nagbabagong anyo o dinamismo dala ng
teknolohiya at pag-taas ng ekspektasyon ng
manonoodang live at virtual audience
interactivity; pag-angkla sa realidad o pantasya

Nilalaman
Katangian
Tanggap na pagambala ng komersyo gawa
ng mga patalastas
Visual scale/surface na pinanonooran
Kumbensyon/formula-istilo ng pagganap na
namana mula sa radyo, dulaan, pelikula
Taningang 30-60 minutong palabas
Intimacy-voyeurism/pag-usyoso-tamis ng
paglimot o panandaliang pag-ibsan ng hirap

Close-circuit/Pagniniig
Paggamit ng close-up, pagtutok sa
pribado o maliliit na espasyo
Kahalagahan ng diyalogo, paguungkat ng sikolohiya ng karakter,
personal imbis na epiko o
grandyosong enkwentro
Televisual: motion in depth vs.
excessive horizontal movement;
pagkasangkapan sa ordinaryo kaysa
sa magarbo

What television delivers is not programs but a

semiotic experience. This experience is
characterized by its openness and polysemy.
Television is not quite a do-it-yourself meaning kit but
neither is it a box of ready-made meanings for sale.
John Fiske, Moments of Television

 Polysemy (or multiplicity of

meaning) is absolutely central to
televisions textuality
The text/cultural commodity is a
site of struggle for the power to
make meanings
TV audiences are socially diverse
and therefore capable of producing
different socially pertinent meanings
from the same commodity
This production of meaning is
pleasurable

 what determines the meanings &

pleasures provoked by a text is the
social situation of the viewer-reader,
not the interests of the producers &
their ideological investment in consumer capitalism
TV as producerly textoffers spaces
within w/c the viewer can use her or
his already developed competencies

TV as Polysemic Medium:
Textual and Intertextual
Characteristics
segmentation/syntagmatic
gaps
intertextuality (vis primary/secondary
texts/oral culture)
time & seriality(nowness/liveness)
heteroglossia(many languagedness)

Many see the news show Wazzup Wazzup as an

innovative take on news reporting and presentation. Upon
closer inspection, however, its coverage proves insipid and
asinine. Evasive content is taken up under the umbrella of
alternative and embellished with absurdist questions and
fashioned lingo. In the end, all it amounts to is so much
talk about traffic, sports, and the weather. As sociologist
Pierre Bourdieu says in his book On Television, People
talk so much about the weather in day-to-day life because
its a subject that cannot cause trouble.
Antares Gomez, Boobs and the Boob Tube, Oblation, August 2006

Sanggunian

DiTomasso, Tanya. The

Aesthetics of Television,
Crossings: eJournal of Art
and Technology, Volume 3,
Issue 1, accessed January
15, 2006
Television Aesthetics, The
Television Encyclopedia,
Horace Newcomb, Ed.,
Taylor and Francis, 2004