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This formation has grown and changed in the last two decades, as the second matrix below (Table 1.5) indicates. Generalized cultural imperialism critique and national television history have been transformed into more specific analyses, represented by national, regional, global, diasporic, First Peoples, and activist television. Ideology critique has been subsumed by racialization analysis and policy critique. Feminism has been supplemented by gender studies, including queer analyses. As the field has become academi-

cally institutionalized, media criticism has fallen away, 3 but anthol- ogy readers and textbooks have proliferated. Genre study and ethnography have remained significant, and new areas have emerged, such as cultural and institutional history. This is in keeping with intellectual growth and institutionalization as well as

a reaction to broader trends, such as social- movement activism and the globalization and privatization of television in the wake of the Cold War and the rise of neoliberalism. 4 Foundational categories and texts since 1990 are listed in Table 1.5. We are witnessing a shift here of some significance. John Hartley expertly describes the terrain:

Sometime during the 1970s and 1980s, TV theory . . . [began] to grow out of an amalgam of critical humanities and behavioral social sciences. It was devoted to understanding, on one hand, values (human, aesthetic, cultural) – the domain of the critic – and, on the other hand, behaviors (psychological, social) – the terrain of the clinic. Mix in the influence of politicized “high theory” (structuralism, psychoanalysis, Marxism, post- modernism) and countercultural “new social movements” asso- ciated with identity (class, gender, race, ethnicity, sexual orientation, age, first peoples, subcultures based on consump-

tion) and you had the makings of television theory. (2005: 103)

The only amendment I’d make to this useful capsule account is that critics were not content with describing values based purely on texts – they also went hunting for audiences to buttress their opinions; and clinicians were not content with describing impacts based on viewers – they also went hunting for texts to buttress their opinions.

Table 1.5 Form of analysis Example Gender Studies Sujata Moorti, The Color of Rape, Mary Ellen Brown, Television and Women’s Culture, Marlene Sanders and Marcia Rock,

Waiting for Prime Time, Julie D’Acci, Defining Women, Lynn Spigel, Make Room for TV, Mary Beth Haralovich and Lauren Rabinovitz, Television, History, and American Culture, Helen Wood, Talking with Television, Charlotte Brunsdon, Screen Tastes, Ann Gray, Video Playtime, Lynn Spigel and Denise Mann, Private Screenings, Lisa Lewis, Gender Politics and MTV, Beretta E. Smith-Shomade, Shaded Lives, Andrea L. Press, Women Watching Television, Lorna Jowett, Sex and the Slayer, Helen Baehr and Ann Gray, Turning it On, Charlotte Brunsdon, et al., Feminist Television Criticism, Jane Shattuc, The Talking Cure, Jane Arthurs, Television and Sexuality, Sarah Projansky, Watching Rape, Frances Bonner, Ordinary Television, Bonnie J. Dow, Prime-Time Feminism, Marsha F. Cassidy, What Women Watched, Amanda D. Lotz, Redesigning Women, Elana Levine, Wallowing in Sex, Janet Thumin, Inventing Television Culture, Andrea L. Press and Elizabeth R. Cole, Speaking of Abortion, Glyn Davis and Gary Needham, Queer TV

Genre Study Misha Kavka, Reality Television, Affect and Intimacy, Antonio Savorelli, Oltre la Sitcom, Brent MacGregor, Live, Direct and Biased?, Jason Jacobs, Body Trauma TV, Luciana Bistane and Luciane Bacellar, Jornalismo de TV, Jonathan Gray et al., Satire TV, Patricia Joyner Priest, Public Intimacies, Raymond Boyle and Richard Haynes, Power Play, Armand and Michèle Mattelart, The Carnival of the Image, Stig Hjarvard, News in a Globalized Society, Rod Brookes, Representing Sport, Vamsee Juluri, Becoming

a Global Audience, Milly Buonanno, Narrami o diva, David Buckingham, Small Screens, John Tulloch, Television Drama, Steve M. Barkin, American Television News, Alfredo Vizeu et al., Telejornalismo, Charlton D. McIlwain, When Death Goes Pop, Katherine Fry, Constructing the Heartland, James Chapman, Saints & Avengers, Robert Chairs and Bradley Chilton, Star Trek Visions, Mark Andrejevic, Reality TV, Michael V. Tueth, Laughter in the Living Room, James Friedman, Reality Squared, Bernard M. Timberg and Robert J. Erler, Television Talk, Garry Whannel, Fields in Vision, Hugh O’Donnell, Good Times, Bad Times, Kristina Riegert ,“Nationalising” Foreign Conflict, Gerd Hallenberger and Joachim Kaps, Hatten Sie’s Gewusst?, Milly Buonanno, The Age of Television, Matthew J. Smith and Andrew F. Wood, Survivor Lessons, Mark Jancovich and James Lyons, Quality Popular Television, Janice Peck, The Gods of Televangelism, Jimmie L. Reeves and Richard Campbell, Cracked Coverage, Robert C. Allen, to be continued . . ., David Marc, Comic Visions, Jason Mitell, Genre and Television, Jeffrey P. Jones, Entertaining Politics, John Langer, Tabloid Television, Susan Murray and Laurie Ouellette, Reality TV, David Buxton, From “The Avengers” to “Miami Vice,” Steve Neale and Frank Krutnik, Popular Film and Television Comedy, Michèle Barrett and Duncan Barrett, Star Trek, Richard Kilborn and John Corner, An Introduction to Television Documentary, Joseph Turow, Playing Doctor, Jostein

Gripsrud, The “Dynasty” Years, Darrell Y. Hamamoto, Nervous Laughter, Andrew Goodwin, Dancing in the Distraction Factory, Thomas Tufte, Living with the Rubbish Queen, Nancy Bernhard ,US Television News and Cold War Propaganda, 1947–60, Sara Gwenllian-Jones and Roberta Pearson, Cult Television, Lez Cooke, British Television Drama, Dana Heller, The Great American Makeover, Glenn Creeber, Fifty Key Television Programmes, Solange Davin and Rhona Jackson, Television and Criticism, Annette Hill, Reality TV, Cynthia Chris, Watching Wildlife, Dana Heller, Makeover Television, Lesley Henderson, Social Issues in Television Fiction, Elana Lavine and Lisa Parks, Undead TV, Michael Kackman, Citizen Spy, Laurie Ouellette and James Hay, Better Living Through Reality TV, Carol A. Stabile and Mark Harrison, Prime Time Animation, Glyn Davis and Kay Dickinson, Teen TV, Robert M. Jarvis and Paul R. Joseph, Prime Time Law, Greg M. Smith, Beautiful TV, Bill Osgerby and Anna

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