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AMST3433:
Television Studies
Course
Description
| Television
is perhaps the most ubiquitous and overlooked of all media. In
its various forms—as commercial broadcast receiver, video
playback unit, surveillance agent, art object, gaming and computer
screen—it has come to shape our reality, yet few have stopped
to examine the medium in any depth. This, as television scholar
Robert Allen notes, is because the medium appears transparent
to us. We take its narratives, images, and effects for granted
because they appear to be “harmless entertainment.”
The problem is compounded by the fact that we live with the receiver,
arranging our rooms around it and casually talking to it as to
a friend. This course will begin, therefore, by “making
television strange,” deliberately shifting our assumptions
about it so that we can see it for the powerful social medium
that it is. We will work to instill the notion that entertainment
is never harmless. It teaches us to comprehend and even arrange
our existence in certain ways but not others. By actively refusing
the impulse to take TV for granted, we will establish a critical
vantage point from which to question the social positions that
television invites us to occupy, especially the positions of consumer
and couch potato. This course will be conducted through lecture
and discussion with weekly screenings of relevant TV programming.
Evaluation will consist of 15 on-line discussion postings, 2 essays
(5-10 pages), and 2 exams. |
Required Texts | Course Requirements
| Course Schedule
The
following texts can be purchased at the Union bookstore
Erik Barnouw,
Tube of Plenty: The Evolution of American Television
Aniko Bodroghkozy, Groove Tube: Sixties Television
and the Youth Rebellion
A selection
of articles available in the COURSE MATERIALS folder of BLACKBOARD
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| Course
Policies and Requirements
Attendance
and Participation: Students are expected to attend
every class and participate actively in class discussions,
both real and virtual. I want to be able to remember each and
every one of you from something you have said in class, office
hours, e-mail, or on-line that makes a constructive contribution
to the class.
On-Line
Comprehension Exercises:
You will be asked to post a brief response to the
reading materials on the virtual discussion board at least
15 times during the semester. The assignments will be
posted in the “Discussion Board” section of the Blackboard (http://blackboard.okstate.edu).
Each assignment will be worth ten points, and together they will
comprise 15% of your course grade. . There will be no
late postings accepted.
Exams
(1 Mid-Term, 1 Final): Exams will consist of
identifications, short-answer responses, and/or essay questions
and will cover the course readings, lectures, and discussions
in equal measure. Check the course schedule to determine exam
dates. There will always be a study guide offered for the exams;
it behooves you to use it. Make-up exams will be given
only in cases of documented emergency and only if I am notified
of said emergency well before the scheduled date and time of the
exam. If you contact me after you miss an exam, I
will be unable to help you, and you will receive a grade of zero.
Essays:
You will write two analytical
essays for this course (between 5-10 pages) about the television
medium and its programming in the US. Full details of these assignments
will be available in the Assignments folder of Blackboard as the
deadlines near. Consult the Schedule of Readings for due dates.
No late papers will be accepted under any circumstances--don't
even ask!
Academic
Honesty: All work you turn in for this class must
be your own work. The unacknowledged use of another’s
materials (either words or ideas and including virtual discussions
and web pages) is called plagiarism. We will discuss
how to avoid plagiarism, including the proper citation of source
materials. Unintentional, or accidental, plagiarism will result
in a failing grade on that assignment. Intentional plagiarism
will result in a failing grade for the course and possible
referral to the Dean's office for disciplinary action. Consult
OSU’s Code of Student
Conduct for more information.
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Do
all assigned reading before you come to class and be prepared
to discuss with questions or comments in mind.
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Selections
starred with an asterisk can be found in the Course Materials folder
of Blackboard.
Unit
1 | Unit 2 | Unit 3
| Unit 4 | Unit 5
Unit
1: The history of the medium
|
| 1/13 |
|
Making
TV Strange: An Introduction |
| 1/15 |
Read |
Erik Barnouw,
Tube of Plenty (pp. 1-96) |
| 1/20 |
Read
View |
Erik Barnouw,
Tube of Plenty (pp. 97-148)
David
Halberstam's The Fifties; Marty (live anthology
programs?) |
| 1/22 |
Read
View |
*Lynn Spigel,
"Television in the Family Circle"
*Karen Altman,
“Television as Gendered Technology”
Queen
for a Day |
| 1/27 |
Read
View |
Erik Barnouw,
Tube of Plenty (pp. 149-340)
Twilight
Zone |
| 1/29 |
Read
View |
Erik Barnouw,
Tube of Plenty (pp. 149-340)
I Led
Three Lives, Quiz Show |
| 2/3 |
Read |
*John Fiske,
"The Codes of Television" & “Commodities and
Culture”
*John Ellis,
"Broadcast TV as Cultural Form" & "Broadcast
TV as Sound and Image" |
| 2/5 |
|
Exam
I |
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Unit 2: The medium in history--The
1960s
|
| 2/10 |
Read
View |
Erik Barnouw,
Tube of Plenty (pp. 341-440)
I Spy,
Hulabaloo, Bonanza, Morley Safer's Vietnam |
| 2/12 |
Read
View |
Aniko Bodroghkozy,
Groove Tube (pp. 1-60)
Howdy
Doody |
| 2/17 |
Read
View |
Aniko Bodroghkozy,
Groove Tube (pp. 61-122)
Cool
Medium, Yippies Clips, The Monkees |
| 2/19 |
Read
View |
Aniko Bodroghkozy,
Groove Tube (pp. 123-198)
Smother's
Brother's Comedy Hour, Mod Squad |
| 2/24 |
Read
View |
Aniko Bodroghkozy,
Groove Tube (pp. 199-250)
All in
the Family, MASH, Family Ties |
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Unit 3: Ideological Critique--Race,
Class, Gender & TV
|
| 2/26 |
Read |
Aniko Bodroghkozy,
Groove Tube (pp. 199-250) |
| 3/2 |
Read
View |
*Mimi White,
“Ideological Analysis and Television”
*Denise Kervin,
“Gender Ideology in Television Commercials”
Select commercials |
| 3/4 |
View |
NYPD
Blue
Due:
Essay 1 |
| 3/9 |
Read
View |
*George
Lipsitz, "The Meaning of Memory"
Ozzie
and Harriet, The Honeymooners, Roseanne |
| 3/11 |
View
|
Color
Adjustment, Dir. Marlon Riggs |
| 3/23 |
Read
View |
*Herman
Gray, “Television, Black Americans and the American Dream”
Beulah,
Julia, Good Times, Cosby,The Hughley's, George Lopez, Whoopi |
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Unit 4: Genre Study--Reality
Television
|
| 3/25 |
Read
View |
*Jane Feuer,
“The Concept of Live Television: Ontology as Ideology”
The Today
Show, KTUL Evening News |
| 3/30 |
Read
View |
*Bernard
Timburg, "The Unspoken Rules of TV Talk"
Oprah,
Jerry Springer, MTV Cribs, Martha Stewart Living |
| 4/1 |
Read
View |
*Clay Calvert,
"Economics of Mediated Voyeurism"
The Real
World, Cops |
| 4/6 |
View |
Survivor,
Big Brother, The Bachelorette; begin Ed TV |
| 4/8 |
View |
Ed
TV
Due:
Essay II |
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Unit 5: Postmodern TV--Pleasures,
Possibilities, Limitations
|
| 4/13 |
Read
View |
Eric Barnouw,
"Demographics" (pp. 469-474)
*Michael
Curtin, "The Neo-Network Era"
Pee Wee's
Playhouse, Moonlighting, Xena: Warrior Princess |
| 4/15 |
Read
View |
*John Fiske,
"Moments of Television"
*Tania Modleski,
“The Rhythms of Reception: Daytime Television and Women’s
Work”
All My
Children, WWE |
| 4/20 |
Read
View |
*Henry
Jenkins, "'Get a Life': Fans, Poachers, Nomads"
Trekkies |
| 4/22 |
Read
View |
*Michelle
Celeste Condit, “The Rhetorical Limits of Polysemy”
Friends
(Lesbian Wedding), Ellen (Puppy Episode) |
| 4/27 |
Read
View |
*John Caldwell,
"The Televisual Audience: Interactive Pizza"
MST3000,
America's Most Wanted Terrorists; Punk'd; MXC |
| 4/29 |
Read
View |
*Jim
Collins, "Television and Postmodernism"
*Robin Andersen,
"Conclusion: The Commercial Politics of Postmodern Television"
Seinfeld
(Finale), X-Files (Jose Chung's From Outerspace) |
| 5/4 |
|
Exam
II |
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