Genre Study (Discussion) - Revision history

Jeremy Butler: /* Jason Mittell on Dragnet and genre */

2020-11-05T19:32:41Z

Jason Mittell on Dragnet and genre

Jeremy Butler: /* Jason Mittell on Dragnet and genre */

2020-11-05T19:24:30Z

Jason Mittell on Dragnet and genre

Jeremy Butler: /* Jason Mittell on Dragnet and genre */

2020-11-05T19:16:00Z

Jason Mittell on Dragnet and genre

Jeremy Butler: /* Jason Mittell on Dragnet and genre */ clarified Hurd question

2020-11-05T19:14:58Z

Jason Mittell on Dragnet and genre: clarified Hurd question

Jeremy Butler: /* Jason Mittell on Dragnet and genre */ added serling's name

2020-11-05T15:56:04Z

Jason Mittell on Dragnet and genre: added serling's name

Jeremy Butler: Dragnet ophotos

2020-11-05T15:54:19Z

Dragnet ophotos

Jeremy Butler: added Weegee photos

2020-11-04T21:06:59Z

added Weegee photos

Jeremy Butler at 20:35, 4 November 2020

2020-11-04T20:35:52Z

Jeremy Butler at 20:31, 4 November 2020

2020-11-04T20:31:05Z

Jeremy Butler at 20:30, 4 November 2020

2020-11-04T20:30:16Z

@@ Line 26: / Line 26: @@
 File:Dragnet19540311qq00 25 03qq00182.jpg|alt=Sentencing.|End credits: Virginia Sterling's sentencing information.
 File:Dragnet19540311qq00 07 18qq00060.jpg|alt=Friday interviews a suspect.|Sergeant Friday interviews a suspect.
-File:Dragnet19540311qq00 07 22qq00061.jpg|alt=Shoplifting suspect.|Shoplifting suspect.
+File:Dragnet19540311qq00 07 22qq00061.jpg|alt=Shoplifting suspect.|Patricia, shoplifting suspect.
 File:Dragnet19540311qq00 07 29qq00062.jpg|alt=Officer Frank Smith interviews a suspect.|Officer Frank Smith interviews a suspect.
 </gallery>

@@ Line 23: / Line 23: @@
 <gallery mode="packed" heights=200px>
-File:Dragnet19540311qq00 00 17qq00001.jpg|alt=Dragnet title card.|''Dragnet'' title card.
+File:Dragnet19540311qq00 00 17qq00001-boostedcontrast.jpg|alt=Dragnet title card.|''Dragnet'' title card.
 File:Dragnet19540311qq00 25 03qq00182.jpg|alt=Sentencing.|End credits: Virginia Sterling's sentencing information.
 File:Dragnet19540311qq00 07 18qq00060.jpg|alt=Friday interviews a suspect.|Sergeant Friday interviews a suspect.

@@ Line 30: / Line 30: @@
 </gallery>
-'''[http://tvcrit.org/Classes/Jbutler/BUI301/Dragnet_BigShopLift_19540311/ View more ''Dragnet'' screenshots here.''']
+'''[http://tvcrit.org/Classes/Jbutler/BUI301/Dragnet_BigShopLift_19540311/ View more ''Dragnet'' screenshots here--one screenshot from each shot of the episode.]
 #'''Group 1''': Mittell contends, "These two genres [the documentary and the crime film] mixed within the semi-documentary [movie] cycle in the late 1940s, a generic reference that was explicitly taken up on 1950s television by ''Dragnet'' and its peers." He thus explicitly connects ''Dragnet'' with the semi-documentary film, ''The Naked City''. What intrigues Mittell about ''The Naked City'' is how it makes claims to being "authentic." To answer the questions below, it may be useful to refer to [https://tvcrit.org/Classes/Jbutler/BUI301/The%20Naked%20City/ screenshots from ''The Naked City''].

@@ Line 47: / Line 47: @@
 ##What is his point about "mediating figures"? Is Sgt. Friday one?
 ##Does "The Big Shoplift" episode support his argument?
-##How does this fit with Hurd's notion of binary oppositions?
+##Can you identify any of Hurd's binary oppositions (from the British police show) in "The Big Shoplift"?
 ==All groups==

@@ Line 24: / Line 24: @@
 <gallery mode="packed" heights=200px>
 File:Dragnet19540311qq00 00 17qq00001.jpg|alt=Dragnet title card.|''Dragnet'' title card.
-File:Dragnet19540311qq00 25 03qq00182.jpg|alt=Sentencing.|End credits: sentencing information.
+File:Dragnet19540311qq00 25 03qq00182.jpg|alt=Sentencing.|End credits: Virginia Sterling's sentencing information.
 File:Dragnet19540311qq00 07 18qq00060.jpg|alt=Friday interviews a suspect.|Sergeant Friday interviews a suspect.
 File:Dragnet19540311qq00 07 22qq00061.jpg|alt=Shoplifting suspect.|Shoplifting suspect.

@@ Line 21: / Line 21: @@
 *radio crime drama''
 were all activated within and around the program. ''Dragnet'' not only drew upon these categories in its textual conventions, formal properties, and encoded meanings, but also in its larger cultural circulation in the 1950s and 1960s, activating discourses of generic definition, interpretation, and evaluation." (124)
 #'''Group 1''': Mittell contends, "These two genres [the documentary and the crime film] mixed within the semi-documentary [movie] cycle in the late 1940s, a generic reference that was explicitly taken up on 1950s television by ''Dragnet'' and its peers." He thus explicitly connects ''Dragnet'' with the semi-documentary film, ''The Naked City''. What intrigues Mittell about ''The Naked City'' is how it makes claims to being "authentic." To answer the questions below, it may be useful to refer to [https://tvcrit.org/Classes/Jbutler/BUI301/The%20Naked%20City/ screenshots from ''The Naked City''].

@@ Line 6: / Line 6: @@
 ==Jason Mittell on ''Dragnet'' and genre==
 Mittell writes that he wants to explore "how ''the generic categories of
 *police show,

@@ Line 16: / Line 16: @@
 ##Which aspects of ''The Naked City'' does he specify as asserting its authenticity? Which aspects depart from documentary-style authenticity?
 ##How does this notion of authenticity connect to ''Dragnet''? That is, what aspects of ''Dragnet'' assert its authenticity? Can you see these in "The Big Shoplift" episode?
-#'''Group 2''': According to the Mittell chapter, what stylistic conventions (what ''Television'' calls "stylistic schemas") can be found in ''Dragnet''? (Hint: his term, "formal," refers to stylistic aspects of television.) For example, how does Mittell interpret the acting style of ''Dragnet'' and its "line editing"? Mittell refers to the style of TV crime dramas that were broadcast live--such as ''Martin Kane, Private Eye'' (although he uses other examples such as ''Man Against Crime''). How does he characterize them? Do you observe this in ''Martin Kane''? How is ''Dragnet'' different?
+#'''Group 2''':
 #'''Group 3''':
-#*What narrative pattern does Mittell see in ''Dragnet''? Outline it as Kaminsky and Mahan do.
+##What narrative pattern does Mittell see in ''Dragnet''? Outline it as Kaminsky and Mahan do.
-#*How does it compare/contrast with the Kaminsky and Mahan model?
+##How does it compare/contrast with the Kaminsky and Mahan model?
-#*Can you see this in "The Big Shoplift" episode?
+##Can you see this in "The Big Shoplift" episode?
-#'''Group 4''': How does Mittell apply the idea of oppositions? What is his point about "mediating figures"? Is Sgt. Friday one? Does "The Big Shoplift" episode support his argument? How does this fit with Hurd's notion of binary oppositions?
+#'''Group 4''':
 ==All groups==