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Television In Transition :tv: - Coggle Diagram

- - - - Jonathan Hardy - The author of the text does not take one particular side in this debate. Instead, he highlights the importance of considering both the theories of political economists and culturalists. Hardy concludes his text by stating that elements from both sides must be considered and utilized for a successful strategy for promotion.
      - Political Economists - argue for commercial intrests
        
        Elieen Meehan - Meehan is on the other side of the debate of the political economists. Her position in this debate is that commercial intertextuality serves as ‘synergistic corporate communications.’ Thus, corporations attempt to maximize profits by exploiting audiences and fans.
      - Culturalists - argue for cultural forces behind transmedia/convergence
        
        Henry Jenkins - Henry Jenkins is on the culturalist side of the debate. He argues that fan activity generates participation, collaboration amongst fans, self-expression and communication. While on the other hand, Jenkins is also concerned of growing commercialism as the line between autonomous and corporate content blur.
    - - In Transmedia Storytelling 101, Henry Jenkins describes the attributes of what constitutes a media text that can be classified as transmedia. Transmedia storytelling is where elements of a fiction get distributed amongst different media outlets, creating different entry points into the transmedia franchise’s universe.
- - - - Keulen and Krijne - The authors of the text argue against the existence of neo-colonistic tendencies in the television industry. Keulen and Krijne state that there is a certain resistance to local culture and that audiences actively participate in the construction of the meaning of a media product.
      - Straubhaar - This author also argues that if a program is culturally distant from its viewers, it won't be comprehensible, or attractive to local audiences. Therefore, audiences make choices about their media consumption on cultural relevance and proximity. Cultural proximity is based on “the concept of cultural identity, which is complex and multi-layered, and consists of geographical, cultural and linguistic aspectslike nationality, ethnicity, religion and gender.”
      - Moran - This author argues that cultural proximity is also achieved through technical and visual elements of television. Elements such as narrative patterns, visual stylistic elements like camera movement, montagesand lighting can contribute to a sense of cultural proximity. Additionally, to that, notions of gender, as well as socially desirable behavior are culturally sensitive, and therefore contribute to the establishment of cultural proximity.
  - - - Michael Newman - In the case of Newman, one can observe how copyright laws do not impact consumers as much. As Newman describes television in his text, he states that piracy, therefore the violation of copyright laws, do not have such a severe impact on the television industry. As in the case of the music orfilm industry, piracy takes away a share of the profit that would come from dvd’s, records ect. But in the case of television, it is not sold directly to their consumers in exchange for money.
  - - - In “Creative Commons,” Lawrence Lessig presents a new copyright licensing system by the same name. He claims that copyright laws in the 21st century have gone out of hand, and are being exploited by corporations.
        
        Lawrence Lessig - Advocates for the creative commons licensing system, as well as being one of the founders of this system. Lessing believes that the debate around copyright laws have become too extremists on both sides. Either there is total control, or no control at all in regard to copyright. Therefore, he believes that we must find the middle ground between those two extremes and have some rights restricted, while some not restricted.
- - - - The first similarity is that in both communities come into being as a result of a performance.
      - Secondly, the activity of both communities resembles each other as both are concerned with “knowledge, discussion, participation, imagination of alternatives, and implementation.”
      - Lastly, both communities rest on emotional investments.
  - - - Andrejevic, the author of this text, has a optimist view on the power of active audiences. He points out that some people started watching shows due to the communities formed on websites. However, he acknowledges the fact that not all suggestions will impact a show.
      - The article also deals with the notions of fan exploitation, as television show producers might exploit fan ideas and sugesstions from online forums. This text also shows a combination of impact of audeinces and technology.
  - - - Levine/Newman - The authors of this text are arguing that the cultural status of television is changing. According to the authors, this is due to the fact that television has become legitimized by elites. Specifically, people such as journalists, popular critics, TV creators and executives, and media scholars have imposed certain values onto the medium of television, trying to steer it towards the direction of already established art and cultural forms, benefiting themselves.
      - Pierre Bourdieu – Bourdieu is referenced in “Legitimating Television,” due to his claims that tastes are class identifiers. Social classes mobilize taste to incorporate and exclude individuals, to classify participants, and to preserve boundaries. Moreover, Bourdieu states that social identity is created not only by economic or social situations but in aesthetic preferences as well. Which all these claims can be applied to the cultural status of television.
      - Lawrence W. Levine - Levine argues that fine arts, symphonic music, the orchestra, and Shakespeare were all part of popular culture in America in the nineteenth century. But at the turn of the twentieth century, further class distinctions and therefore changed the experiences of performances. So by looking back at the history of mediums, Levine argues that there is no such thing as low and high culture, as the media landscape is always shifting, and that dominant media texts are always reflective of the dominant ideology at hand