Difference between revisions of "Beyond and Beside Narrative (Discussion)"

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#'''Group 4:''' Expository (or rhetorical)
 
#'''Group 4:''' Expository (or rhetorical)
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#:https://tcf.ua.edu/Classes/Jbutler/TVCrit2018_images_ByChapters/05/images/thumbnails/Fig05-01_Bowflex_MaxTrainer_Ad_During_The_Mick_20170101qq00_01_07qq00023.jpg
 
#'''Group 5:''' Participatory (in older work, Nichols referred to this mode as "Interactive")
 
#'''Group 5:''' Participatory (in older work, Nichols referred to this mode as "Interactive")
#:https://tcf.ua.edu/Classes/Jbutler/TVCrit2018_images_ByChapters/05/content/images/thumb/Fig05-05_PriceIsRight20101213_02.jpg
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#'''Groups 6 and 1:''' Observational
 
#'''Groups 6 and 1:''' Observational
 
#:http://cw.routledge.com/textbooks/9780415883283/images/small/Fig04-08_CopsOnHulu20101119qq00_01_17qq_1.jpg
 
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Revision as of 14:40, 10 September 2018

Bill Nichols' terms

Explain film scholar Bill Nichols' sense of the following terms:[1]

  • historical world or historical reality
    • Why does he prefer this term to "reality"?
  • social actor
    • Why does he prefer this term to "individuals" or, simply, "people" in non-narrative works?

Modes of representation

Television depicts historical reality and addresses itself to the viewer about that reality through four principal "modes". Individual genres and programs are not limited to one single mode, but instead draw upon each as needed.

Explain the principles behind each mode, drawing examples, as the book does, from:

  1. Group 4: Expository (or rhetorical)
    https://tcf.ua.edu/Classes/Jbutler/TVCrit2018_images_ByChapters/05/images/thumbnails/Fig05-01_Bowflex_MaxTrainer_Ad_During_The_Mick_20170101qq00_01_07qq00023.jpg
  2. Group 5: Participatory (in older work, Nichols referred to this mode as "Interactive")
    https://tcf.ua.edu/Classes/Jbutler/TVCrit2018_images_ByChapters/05/images/thumbnails/Fig05-05_PriceIsRight20101213_02.jpg
  3. Groups 6 and 1: Observational
    http://cw.routledge.com/textbooks/9780415883283/images/small/Fig04-08_CopsOnHulu20101119qq00_01_17qq_1.jpg
  4. Groups 2 and 3: Reflexive
    http://cw.routledge.com/textbooks/9780415883283/images/small/Fig04-13_DailyShow_000001_1.jpg

Applying "modes of representation"

Storage Wars: "A Tale Of Two Jackets" (2012)

  1. Group 4: Expository (or rhetorical)
    • How does it argue for a certain interpretation of these events?
    • How does it shape our understanding of them?
  2. Group 5: Interactive
    • Does the TV world interact with the historical world?
  3. Groups 6 and 1: Observational
    • Do the producers just observe these events or do they appear to stage or manipulate them?
    • How is this show different from/similar to Cops?
  4. Groups 2 and 3: Reflexive
    • Is it TV about TV? Does it make you aware of TV as TV?

Cast

  • Jarrod Schulz and Brandi Passante: "The Young Guns"
  • Darrell and Brandon Sheets: "The Gambler" and his son
  • Dave Hester: "The Mogul"
  • Barry Weiss: "The Collector"
  • Dan and Laura Dotson: auctioneers
  • Nabila Haniss
  • Jeff Jarred

College Football: USC at Alabama (in Dallas) on ABC

9/3/2016. Announcers: Chris Fowler (play-by-play), Kirk Herbstreit (color), Samantha Pounder (sideline)

  1. Group 4: How is the expository mode apparent in this game?
    • What function do statistics, graphics and replays serve? Be as specific as possible.
  2. Group 5: How is the game turned into a narrative, a story?
    • Do Kirk Herbstreit's comments in this game fit the generalization? Be as specific as possible.
    • Are the "social actors" turned into characters?
  3. Groups 6 and 1: Do the book's generalizations about the play-by-play announcer apply to Chris Fowler in this broadcast? Be as specific as possible.
  4. Groups 2 and 3: How do football's time and space fit the time and space of television?
    • Provide examples from this broadcast.
  5. All Groups: What function does the sideline reporter (Samantha Pounder) serve? How does her function compare with that of the play-by-play announcer and/or the color commentator? Why don't women do play-by-play or color for football broadcasts?

Divorce Court, 1960

Bibliography

  1. Jeremy G. Butler, Television: Visual Storytelling and Screen Culture (New York: Routledge, 2012).

References

External links