Difference between revisions of "Genre Study (Discussion)"
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| − | '''Group 2''': What dilemma do genre scholars face when trying to define a genre? Explain the ''theoretical'' way of escaping that dilemma and the ''historical'' way of escaping it. Within your group, conduct a survey to determine what its "cultural consensus" is for the definition of the sitcom. You may wish to refer to sitcoms we've seen in class. | + | '''Group 2''': What dilemma do genre scholars face when trying to define a genre? Explain the ''theoretical'' way of escaping that dilemma and the ''historical'' way of escaping it. Within your group, conduct a survey to determine what its "cultural consensus" is for the definition of the sitcom. You may wish to refer to sitcoms we've seen in class. |
| − | '''Group 3''': Genres may be defined based on their ''stylistic schema''. Explain that phrase and how it might be used to define a genre | + | '''Group 3''': Genres may be defined based on their ''stylistic schema''. Explain that phrase and how it might be used to define a genre--using ''Scrubs'' for examples. |
| − | '''Group 4''': Genres may be defined by their subject matter--specifically, their ''narrative structure'' and ''themes''. Explain how Kaminsky and Mahan articulate the police show's narrative structure. Does the episode of ''Dragnet'' we watched support their argument | + | '''Group 4''': Genres may be defined by their subject matter--specifically, their ''narrative structure'' and ''themes''. Explain how Kaminsky and Mahan articulate the police show's narrative structure. Does the episode of ''Dragnet'' we watched support their argument? |
| − | '''Group 1''': Genres may be defined by their subject matter--specifically, their ''narrative structure'' and ''themes''. Explain the "binary oppositions" (thematic structure) that Hurd finds in the police show. | + | '''Group 1''': Genres may be defined by their subject matter--specifically, their ''narrative structure'' and ''themes''. Explain the "binary oppositions" (thematic structure) that Hurd finds in the police show. |
==Mittell== | ==Mittell== | ||
:Mittell writes that he wants to explore "how '''the generic categories of police show, documentary, film noir, and 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) | :Mittell writes that he wants to explore "how '''the generic categories of police show, documentary, film noir, and 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) | ||
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| + | '''Group 2''': Mittell links the semi-documentary genre with ''Dragnet''. What key connections does he see there? | ||
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| + | '''Group 3''': According to the Mittell chapter, how might ''Dragnet'' fit into a stylistic schema? (Hint: his term, "formal," refers to stylistic aspects of television.) For example, how does Mittell interpret the acting style of ''Dragnet''? | ||
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| + | '''Group 4''': What narrative pattern does Mittell see in ''Dragnet''? How does it compare/contrast with this other model? | ||
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| + | '''Group 1''': How does Mittell apply the idea of oppositions? What is his point about "mediating figures"? Does this ''Dragnet'' episode support his argument? | ||
==All groups== | ==All groups== | ||
Revision as of 19:03, 2 November 2010
Group 2: What dilemma do genre scholars face when trying to define a genre? Explain the theoretical way of escaping that dilemma and the historical way of escaping it. Within your group, conduct a survey to determine what its "cultural consensus" is for the definition of the sitcom. You may wish to refer to sitcoms we've seen in class.
Group 3: Genres may be defined based on their stylistic schema. Explain that phrase and how it might be used to define a genre--using Scrubs for examples.
Group 4: Genres may be defined by their subject matter--specifically, their narrative structure and themes. Explain how Kaminsky and Mahan articulate the police show's narrative structure. Does the episode of Dragnet we watched support their argument?
Group 1: Genres may be defined by their subject matter--specifically, their narrative structure and themes. Explain the "binary oppositions" (thematic structure) that Hurd finds in the police show.
Mittell
- Mittell writes that he wants to explore "how 'the generic categories of police show, documentary, film noir, and 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 2: Mittell links the semi-documentary genre with Dragnet. What key connections does he see there?
Group 3: According to the Mittell chapter, how might Dragnet fit into a stylistic schema? (Hint: his term, "formal," refers to stylistic aspects of television.) For example, how does Mittell interpret the acting style of Dragnet?
Group 4: What narrative pattern does Mittell see in Dragnet? How does it compare/contrast with this other model?
Group 1: How does Mittell apply the idea of oppositions? What is his point about "mediating figures"? Does this Dragnet episode support his argument?
All groups
- List two strength(s) of genre analysis. List two weaknesses of this approach.
Bibliography
- Jeremy G. Butler, Television: Critical Methods and Applications (NY: Routledge, 2011).
- Jason Mittell, Genre and Television: From Cop Show to Cartoons in American Culture (NY: Routledge, 2004).
