the politics of tv final

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The Politics of TV How Distribution Platforms Affect Cultural Ideology By Lilia Hadjiivanova California State University, Los Angeles

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Page 1: The Politics of TV FINAL

The Politics of TV

How Distribution Platforms Affect Cultural Ideology

By Lilia HadjiivanovaCalifornia State University, Los Angeles

Page 2: The Politics of TV FINAL

Distribution Platforms: Broadcast Network vs. On-Demand Subscription

o Broadcasting networko Relies on advertiserso Importance of ratingso Broad audience

o On-demand Internet subscription-based streamingo Relies on # of subscriberso Importance of ‘quality’ contento Niche audience

Page 3: The Politics of TV FINAL

Research Questions

Does the medium influence the message?

Is dominant American cultural ideology reinforced or challenged?

How are the following represented: gender (fixed gender roles, masculinity is dominant, femininity is submissive), race (racial stereotypes, whitewashing, symbolic annihilation), class (prevalence of middle- and upper-class characters), American dream (individualism, pursuit of happiness, upward social mobility, “having it all”)

Page 4: The Politics of TV FINAL

The Shows

VS.

Page 5: The Politics of TV FINAL

Similarities

one-hour political dramas which combine melodrama and violence depict issues of power, loyalty, marriage, and political back-stabbing

have diverse casts and strong female leads

innovative

Page 6: The Politics of TV FINAL

Differences: Broad vs Niche

o Melodrama / Soap opera feel

o Emphasis on romance

o Fast-paced editing

o Outrageous plot twists

o Weekly ‘amnesia’

o “Guilty pleasure”

o ‘Quality’ / Cinematic feel

o Emphasis on politics

o Slow pace

o Plausible plot twists

o Episodic ‘memory’

o Literary references

Page 7: The Politics of TV FINAL

Differences: Gender

o ‘Livvie’ goes from being outspoken, independent (S1) passive, emotional mess (S2)

o Heterosexual, romantico Family-oriented

Her happiness is contingent on love

o Egalitarian marriageo Ambiguous sexuality, aromantico Not family-orientedo Open relationship

Her happiness is contingent on power

Page 8: The Politics of TV FINAL

Differences: Race

o Assimilationist (colorblind)

o Black Boss Lady, Scary Black Man tropes

o Multicultural (diversity)

o Representation of otherwise symbolically annihilated populations e.g. Native Americans

Gray, H. (2000), “The Politics of Representation in Network Television” in Newcomb, Horace. Television: The Critical View. New York: Oxford University Press

Page 9: The Politics of TV FINAL

Differences: Social Class & the American Dream

o Middle- / Upper-class characters

o Pursuit of happiness / Desire to “have it all”

o Reinforces the American Dream

o Working-class characters in main roles

o Pursuit of power / Not wanting “it all”

o Attacks the American Dream

Page 10: The Politics of TV FINAL

Conclusion

o Goal to sell a product (other than the show itself)

o Lowest common denominator

o Reinforces dominant values

o Does not address racism / class inequality

o reaches more people, but represents a limited part of the population

o Goal to sell the show

o Niche

o Challenges hegemonic ideals

o Addresses racism / class inequality

o reaches fewer people but represents a broader, more diverse population