Notice bibliographique
Résumé
LEGITIMATING TELEVISION: MEDIA CONVERGENCE AND CULTURAL STATUS By Michael Z. Newman and Elana Levine New York: Routledge, 2012, 232 pp.Traditional hierarchies of taste and cultural value have broken down over the course of the twentieth century, allowing movies to become cinema, comic books to become graphic novels, video games to become artgames, and the idiot box to become Quality But this familiar notion doesn't quite capture the complex social, political, economic, and historical processes that drive the elevation of popular cultural forms, or the many ways in which distinction, cultural hierarchy, and distributions of material and symbolic capital are inscribed in these processes. In the past decade or so, there has been a proliferation of academic work that tackles precisely this complexity, and Michael Z. Newman and Elana Levine's Legitimating Television: Media Convergence and Cultural Status is a notable recent example. In this short but comprehensive volume, the authors set out to critically account for the high cultural status achieved by certain kinds of TV shows, and the apparent legitimation of the television medium.Newman and Levine's goal is to document and denaturalize the logic of this process, and reveal the underlying social and political implications of television's shifting status. Their argument is that some kinds of television have achieved legitimacy only through the exclusion and denigration of other kinds of television. This process has reinforced rather than challenged established social and cultural hierarchies of class and gender. Soap operas and reality TV, as well as most older shows, continue to be scoffed at as feminized mass culture while contemporary, masculinized primetime or premium cable dramas like The Sopranos are elevated to the status of art. Crucial to Newman and Levine's analysis is that in the era of media convergence, this problematic distinction extends not only to different genres of television programming, but also to different modes of engaging with television. They argue that video-on-demand (VOD), digital video recorders (DVR), DVD box sets, streaming, and illegal downloading (generally associated with elite, young, tech-savvy, middleand upper-middle-class viewers) are seen to be objectively better than watching broadcast TV with commercials (which, they argue, is generally associated with a lower-class or luddite audience who know any better). Deal or No Deal and The Big Bang Theory on the networks for the masses, Mad Men and Arrested Development on Netflix for the classes. For those invested in television as an art form, this newfound respect and status is a long-awaited victory, but Newman and Levine point out that these distinctions are precisely those that denigrated television for so long in the first place, associating it with the bad qualities of passivity, feminine domesticity, and juvenile, crassly commercial (even dangerous) mass entertainment. The medium itself has become something base and limiting that needs to be transcended, as evidenced by the slogan It's not TV, it's HBO and the familiar TV-downloader's refrain of I don't have TV. The idea, then, that all cultural distinctions have collapsed into an omnivorous and egalitarian free-for-all belies an ongoing reaffirmation of the ideological status quo.Each chapter of the book works as a self-contained analysis of a particular dimension of television's legitimation, contributing to and expanding this core argument (a modularity that makes it useful for teaching). Newman and Levine trace the history of the current so-called Golden Age of television, finding its roots in 1970s Quality Television, 1990s programs like Hvin Peaks that combined cult fandom with mass appeal, and the rise of premium cable channels like HBO. A particularly strong chapter examines the construction of the showrunner (an individual acting as producer and lead writer, and often the series creator) as television auteur. …
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,002 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,001 | 0,001 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,000 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».