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Representation TV & Sexuality (AVILA-SAAVEDRA, Gibson’s presentation). In the early 2000s, representation of homosexuality on TV increased, especially gay male protagonists. What would be an example of this? Why was this viewed positively at the time? Avila-Saavedra argues, though, that there was nothing “queer” in these representations. What does he mean by this? Give an example from a show to illustrate. How is this related to gaystreaming (Gibson)? Can you think of a representation in TV/streaming that is queer, and moves beyond these earlier examples, or does queerness remain unrepresentable, or at least compromised, on television?
Narrative & Genre Veronica Mars (MITTELL & McWILLIAM). What is “narrative discourse” and why is it important? In narrative, how is “narrative information” managed, producing “knowledge differentials” (between characters, between characters and viewers)? Give an example from the pilot episode of Veronica Mars, and explain. In storytelling, how is “temporality” (the use and manipulation of time) used to engage viewers? Give an example from the episode to illustrate. Consider briefly how these two techniques relate to the show’s hybrid genre, teen/noir-detective. How do these choices in narrative help express these two genres and their interaction?
Audiences Fandom (STANFILL and Zoe’s presentation). Stanfill argues that the “whiteness” of fans and fan studies has gone unremarked upon – what do they mean by this? How is the whiteness of fandom invisible, and what is a consequence of this? Consider one consequence. How are male fans and female fans seen as different, by media scholars and/or by the industry? Give and explain two ways. Why are male fans preferred as the normative ideal? Give and explain one reason. What is a consequence of this? Consider one consequence.
New Media Citizen Journalism (textbook and KIDD, Gracie’s & James’s presentations). What is the public sphere? Give a definition. What is “citizen journalism” and what role might it play in the public sphere? Identify and explore at least one role. Drawing on theories of the selfie from the Kidd reading, how could selfies be considered a form of “citizen journalism”? Explore briefly using either #IfTheyGunnedMeDown (Gracie) or migrant selfies (James) as your example.
Essay: NETFLIX 400-500 words. [22 points]
Use a “mixed methods” approach (Chapter 10) to analyze Netflix – the agency it gives viewers and the structure that may channel and contain such agency.
Using our Netflix articles/presentations, NETFLIX ESSAY: POOLED SOURCES (in class Google folder), readings & textbook, and lecture, lay out a key argument/assertion about Netflix for each approach in the production, content and reception analysis paradigm:
production/industry (political economy) for example: Netflix’s business model, SVOD, branding, exploiting media convergence, platform and interface, globalization, etc.
content/text (representation & form) for example: narrative structure and serialization, intertextuality and hyper-postmodernism, “quality” television, cult shows, etc.
reception/audience (cultural studies) for example: fandom & geek culture, social media, binge-watching, produsers and participatory audiences, etc.
Explain each approach’s finding in a brief paragraph.
Triangulate the three points you have selected. Consider how they inform one another, complicate or support each other’s claims, and/or add context. Propose conclusions that can be drawn from a holistic approach that considers all three aspects of Netflix as a form of media.
Would you argue that Netflix offers the viewer full agency, or do you find significant ways in which this agency is managed and even determined by Netflix?
If link above does not work – address for NETFLIX ESSAY: POOLED SOURCES: https://docs.google.com/document/d/1SS-VS5gzF5SQ2rYvWKkkUZhzFYHlMygMQ4Xr1kqKH7U/edit?usp=sharing