Whether consciously or not, edited books such as these do produce canons of sorts and we must be acutely aware of the choices and judgements by which they are inevitably assembled. Perhaps part of the problem with some textual analysis has been a reluctance to examine its methods and practices too closely.
While the social science origins of audience research meant that methodology was already a central component of its historical development, the literary origins of textual analysis meant that forms of methodology seemed less pressing or important to its scholars. As a result, textual analysis has sometimes been shockingly poor at explaining and accounting for The Joy of Text?
What it could learn from audience and reception studies is a clearer set of procedures, a self-reflexive sense of its own methodological development and a more self-conscious understanding of its limitations and critical assumptions.
As I frequently tell students, simply stating that I will carry out textual analysis is rarely enough. What type of textual analysis are you intending to carry out? How will it be done? What problems do you expect to encounter, and how will you attempt to deal with these? What will be the validity of your conclusions, and what do you hope to achieve through this approach that other methodologies could not produce? These are just some of the questions that any section on methodology should address.
So where are we now? Taping all of primetime network television as well as hours of cable, they archive everything in the entertainment tracking system ETS , which by contained more than , hours of programming. Stooges do anything for camera in 'Reality Hell ' ". No additional import charges on delivery. Supernatural and paranormal reality shows such as MTV's Fear , place participants into frightening situations which ostensibly involve paranormal phenomena such as ghosts , telekinesis or haunted houses.
For it is now crucial to see textual analysis as a methodology in its own right, one that needs to be as critically evaluated and routinely assessed like any other. However, I do have a great deal of hope for textual work in television studies in the future. At a recent symposium I attended at Warwick University From the National to the Trans-National: European Television and Film in Transition, 7 May , I was struck by the confidence of the younger academics present to look at television textually.
The MA and PhD students I met there seemed to be free of the sort of anxieties that I once associated with textual research. As they were not at least concerned with whether television was worthy of study or not they simply accepted that it was , so they seemed more than happy to talk about and discuss television from a number of critical angles.
This was strikingly different from my own PhD experience, when I felt like I had to constantly justify and explain my own textual approach to television. Similarly, I recently attended the Cultures of British Television Drama conference University of Reading, September where Christine Geraghtys inspiring paper Television Drama Viewing, Writing, Teaching spoke about returning to the text, particularly in relation to issues of quality and canonisation she even dared to suggest that a TV canon was desirable!
While once such a talk may have been heavily contested and criticised, here it was met with a warm sense of approval and critical understanding. At the time of writing Ive just finished editing a book called Tele-Visions: an Introduction to the Study of Television to be published by the BFI in where some of these arguments are explored further. The main title of the book was an attempt to suggest that television can still be a visionary medium, but it was also a deliberate nod towards televisions interdisciplinary nature offering various visions of television.
Although such an introductory textbook can never expect to be comprehensive, I hope that each chapter offers students a different way of approaching and assessing that thing we call television. Of course, audience analysis is represented, as is history, industry, institutions, technology, globalisa- tion and so on.
But textual analysis is strongly fore-grounded. This is because I believe it still has an important and crucial contribution to make to the field as a whole.
Not only is it where contemporary television studies began so to under- stand it is to partly understand the subjects complex historical development , but it is also the place where many students begin their work. But let us also make sure that they do not repeat the problems and mistakes of the past. Allen, ed. Journal of British Cinema and Television, , , Tauris, The Joy of Text? Read Free For 30 Days.
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Television and Textual Analysis For Later. Original Title: The Joy of Text. Television and Textual Analysis. Related titles. Carousel Previous Carousel Next. Pipeline and Hazardous Materials Safety Administration. Audio Recording of the psychoanalytic dialogue: scientific, clinical and ethical problems.
Jump to Page. Search inside document. This piece will start with a confession: when I look at TV critically I cant help thinking about matters of a textual nature. Iustin Alexandru. Naimul Newaz Nabil. Kuhu Bajaj. Oscar Gorajewski.
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Afshin Irani. Fascinatingly, though, the show also makes less familiar connections, including the little-known links between the simultaneous liberation struggles in east Germany and apartheid South Africa. The American landmark in chronologically restless fiction is Mad Men. Also, because some US events of that decade were so epochal, there was an extra tension for viewers in knowing the storyline was heading towards the JFK assassination, the Vietnam War and the Nixon presidency.