Study done by Ted Nannicelli (2012)
This journal article is very different to all the other research journals that I've annotated. Nannicelli pays close attention to the ontological aesthetic of television as a whole, asking philosophical questions that seize to determine the 'spatiotemporal boundaries' of television work, drawing on television identity and the persistence condition of its artform. Questions like 'when is a television work finished, and when is a television work a distinct whole rather than a constitutive part of some other work' seeks to determines the 'spatiotemporal boundaries' of television shows, serialist or minseries. This article consideres television aesthetic differently to the way Glen Creeber looks at it in my other annotated bibliography, where Creeber examines the 'broadcast' quality of television, the liveness and sense of intimacy; Nannicelli on the other hand regards television as 'text', drawing on Roland Barth's theory on 'work and text'. This article was published in a film study journal, Screen: Oxford Journals, that's intended for readers that are interested in cinema studies. Hence, they look at television through a filmic lens, putting its distribution methods aside and focus primary on 'authorship' and the content itself. This article might not be relevant to our study of media distribution, but it looks into television in a broader sense. Television in this article has been studied as an 'artwork' and hence, offering us a fresh new insight into the fundamental and conceptual framework of television form.
Nannicelli. T. (2012). Ontology, intentionality and television aesthetics. Screen. 53 (2), p164-179.
Study done by Graham Meikle and Sherman Young (2008)
This article in Media International Australia Journal explores some of the issues that are circulating around the idea of television. Meikle and Young touch on how new emerging form of media such as streaming video, online media and file sharing are posing threat to standard model of broadcast television and comes to an acknowledgement in a sense that these new forms are 'unlikely to replace television as we know it, but they will dispace it,' suggesting a gradual shift in the form of television, rather than a radical one. This article is quite short but outlined quite an extensive list of topics surrounding the broad topic of television's shifts and trends, how it's being 'reshaped, re-imagined and reinvented.' As a result, the subjects explored are brief analogues of arguments gathered from various theorists and scholars, hence, informative but not particularly analytical. In terms of our research, I would say that this article can be a good portal for further research into the experts' theories and proposals mentioned in the text. Much of the claims and statement in the text are well informed but still yet to be evaluated. This piece is a good starting point for people who wish to have a brief overview over the industry climate of television. Keep in mind that this article was written in 2008, much of the states and numbers would become outdated. However the theory proposed are still relevant and worth thinking about.
Meikle. G. and Young. S. (2008). Beyond Broadcasting? TV for the Twenty First Centry. Media International Australia. 126, p67-70.
Study done by Jaime J. Weinman (2013)
"Once obsessed with viewers and ratings, the television model these days is all about buzz"
I've avoided including non-academic journal reports in my annotated bibliography, but I find this one quite current and relevant to our research. Published in January this year on Maclean's Magazine, this article gathered various industry expert opinions on the way television show's success are no longer defined by whether or not the show pulls in big numbers in ratings, but rather suggests that the success of a TV show is determined by its ability to generate conversations and attention from the public. Primary drawing on the statements made by Netflix's chief marketing officer, Kelly Bennett and communications officer Jonathan Friedland, Weinman outlines the reasoning behind Netflix's refusal in releasing ratings of their recent 'hit', House of Cards, and discusses Netflix's 'subscriber requisition strategy' proposed by Bennett.
"Our intention is not to release ratings, and that's for a very good reason: we don't have to."
"We'll define the success of these original shows in our own way."
I think this article will work well together with Anthony Smith's article on the analysis of AMC's slow-burn narrative. While Smith's article offers a more academic and theoretical side of the argument; Weinman, on the other hand, provides many applicable statements and discussion gathered from industry insiders that will be very helpful to our research. The arguments presented in the report gave us an overview of the sort of debate and conversation that is happening in the television industry right now.
Jaime, J. W. 2013, Who's watching? Who cares? ; Who's watching? Who cares?, Rogers Publishing Limited, Toronto, Canada, Toronto.
It is important to know how to think as well as knowing how to make, but most importantly, we must first learn to be.
Over the Christmas break, my family and I spent the holiday in New York for a few weeks to visit my uncle, Jeff, who lives there. We stayed at his apartment right in the center of the metropolis with an overarching skyscraper window view, everything was designed with taste and of character. I thought about the other houses and apartments that I've lived in, this one doesn't feel as alienating when compared to my home in Tawain, neither was it that much of a difference to the many photographs of urban apartment we see in Urban Magazines. It sure is different, yet at the same time, it felt familiar... What is it that made up our perception of a home? And how do we consider a space adorned with furnitures and pleasant views - a house?
I've never been to the apartment, however, the moment I went in, I knew it was a home, not a hotel room. Why so?
That's talk about television now - the must-have of all houses and homes. Whether it's broken or turned off; a dark monolith or a 19th century robot, it dominates the space of every household in its discret way. A living room without a television is like a house without windows. Somehow, we all have television at home not just for its functionality but more so because it's just what a house suppose to have.
Nevertheless, How often do we actually turn on our TV? Personally, I can say that the wide screen television hung on my living room spent way more time being mirror-black than actually being turned on. Even when it's on, I always treat it as more of an ambient, an aesthetic to the space we called a "living room." It it important to point out that, even though, I don't usually watch the television in my living room, I am deeply and hugely obsessed with TV shows. In Australia, we are a day late to US timezone and hence, all the good TV series that aired on Sunday will be the equivalent to our Monday in Melbourne. MONDAY IS MY FAVOURITE DAY OF THE WEEK. Depends on the quarters, sometimes I have Double-Monday (Mad men and Game of Thrones), sometimes I have Triple-Monday (Breaking Bad, Homeland, and Dexter).... Monday is the day that I look forward to each week and it is also the day that is always impossible to do any works.
Watching TV shows, reading reviews and discussing shows with my mates are just as entertaining as the show itself. That in a way, is top notch quality entertainment and I always love the idea that tv shows are different to films. I see film as a piece of art work, made as an exhibit, being showcase in cinemas and theatres around the world, whereas a serialised television show is more of a living art, we as an audience, live and grow with it. We should never underestimate the power of time and space. Although, we as a younger generation with the power of current technology, no longer feel compelled to watch television in a given set of time and space, but instead chooses to watch television series on our laptops whenever we feel like, we are nonetheless still watching 'television shows,' not on TV but still threw different medium. Mad Men is always going to be Mad Men, whether it's on a LED TV screen or on our laptop screen. The influence of television is deeply embedded in our everyday live. I think the current mode of television is an industry that is under change, and it is a very exciting time to be discussing and debating the 'future' of TV, to witness the change in the industry and the way we consume its content is in itself an intrigue.
Our first week in New York living in my uncle's house, though there were thousands of TV channels, we still weren't sure what to watch. In the beginning, I would always click through the TV guide and ultimately ended up watching news or sports channels. The shows that I want to watch is still never on, even though there is thousands of channels to choose from. I would say that it wasn't until we discover the Netflix remote that we began to pay real attention to the 55 inch LED screen! And that's something worth looking into.... No more CNN or Honey Boo Boo Child..... lol
Public service annoucnements....
- Work attachment's - you mandatory 80hrs must be completed my end of MI2 - but DO IT NOW (Make an appointment to see me or Paul ASAP)
- Career Development and employment is a student service open to you all! (Student service center, build 14.4)
The MI I Challenge...
"In virtually every subject area, our knowledge is incomplete and there are problems are waiting to be solved. We can address the holes in our knowledge and those unresolved problems by asking relevant questions and then seeking answers through systematic research."
By the end of the semester...
you ough to knoe more about your chosen topic than US (or quite frankly you haven't done enough work).
you should be able to claim to have real insight and expertise within your selected field (and be able to prove it with your report!)