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Film 20B Introduction to Television Studies

Spring Quarter 2014


Professor L.S.KIM
SECOND PAPER ASSIGNMENT
Your paper is due at the beginning of class on Monday, June 2
nd


According to Leah Vande Berg ithe structure of television criticism includes:
1) Thesis: the statement of a critical proposition (interpretation, judgment, insightful
observation)
2) Arguments: which develop the thesis
3) Examples: ample, appropriate supporting evidence (examples, description, testimony)

She writes: Criticism involves organizing, describing, analyzing, and evaluating symbols,
relationships, and patterns to share an informed perspective with others (Vande Berg, 9).

Ideological Analysis of a Scene (4 pages):
Select a scene, ideally but not limited to one of the television programs discussed in
class, and do a close analysis of its ideological implications through an examination of
such elements as the shots/camera work, lighting/color/setting, costumes, spoken lines,
narrative/story, characters, sound, editing strategies, audience reception.
Formulate a thesis, and use your close analysis to support it.
You must incorporate at least one of the critical readings from weeks 5, 6, 7, 8, or 9 in a
substantive manner (handling and skillfully integrating two will be more impressive), i.e.,
you can take up one of its main points, and apply it to a scene of your own choosing.
These readings include: Darnell Hunt, Aniko Bodroghkozy, Kathleen K. Rowe, Jennifer
Gillan, Herman Gray, Jhally and Lewis, Brian Locke, Jose Muoz, Christopher Pullen,
Richard Conway, and possibly Week 10 readings by Pamela Wilson and Gray Cavender.
If you are interested in utilizing a reading from earlier in the quarter or one of the
recommended readings, please discuss it with your Teaching Assistant for approval.

Possible topics to write about include: the representation of women or femininity or feminism;
the representation of masculinity; the representation of family; the representation of
America/ness, the representation of people of different racial groups or of different class
categories; the representation of sexuality or sexual identity; the representation of facts in non-
fiction television (i.e., news); the myth of the American Dream, the tale of (heterosexual)
romance/dating/marriage; the image(s) or story of success. There are, of course, other
possibilities that you can consult with your T.A. and/or me about for approval or suggestions.

The key to a successful analysis is to be specific. For example, what about the representation
of a woman in a scene? How does a scene reveal and express gender ideologies or racial
hierarchies? How does television news mask the fact that it is subjective, and construct a sense
of objectivity or neutrality? Move beyond mere description, and be analytical.
Regardless of your topic, a question you all must address is:
In what ways does this scene participate in hegemony, and are there elements in it that
could be considered counter-hegemonic? Explain.


Tip: Writing more than one draft will help you in completing a successful assignment. Turning
in a third (or fourth) draft will be better, stronger.

Focus your analysis on one scene (or two short ones that relate to one another), which will
enable you to do a rigorous study.
You will need to watch the scene several -- many! -- times.
Take thorough notes of your observations and ideas; then, write your paper from your
notes.
The Media Center at McHenry Library gives you access to players, monitors, and numerous
television programs, including most of the ones that we have seen in class. Please let me, or
your TA know if you have questions about particular television programs, past or present.
We are excited to see what you decide to write about.


Paper Policy:
Papers must be typed, double-spaced, with formal one-inch margins; you must properly cite
quotations and ideas which are not your own. Papers will be graded on conceptual rigor,
correctness in writing form, and fluency of writing style. Your Teaching Assistant can give you
her specific or additional grading guidelines.

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