TELEVISION STUDIES: THE BASICS Table 1.3

38 TELEVISION STUDIES: THE BASICS Table 1.3

UNESCO (unesco.org/culture) Digital Divide Network (digitaldivide. net)

Culture Statistics Observatory Urban Institute Arts and Culture (culturestatistics.net)

Indicators Project (urban.org) Centre for Cultural Policy Research Council of Europe Cultural Policy

(culturalpolicy.arts.gla.ac.uk)

(coe.int)

Basel Action Network (ban.org) Creative Commons (creativecommons. org)

Sarai (sarai.net) Free Software Foundation (fsf.org) Alternative Law Forum (altlawforum. Cultural Democracy

org) (culturaldemocarcy.net) Cultural Policy & the Arts National

Feminists for Free Expression (ffeusa. Data Archive (cpanda.org)

org)

European Commission Education Observatory of Cultural Policies in Audiovisual & Culture Executive

Africa (ocpa.irmo.hr) Agency (eacea.ec.europa.eu)

Pew Charitable Trusts (pewtrusts. Fairness in Accuracy and Reporting com)

(fair.org)

AfricaMediaOnline Asian Media (asiamedia.ucla.edu) (africamediaonline.com)

Asia Media and Information Center Audiovisual Observatory (obs.coe.int) (amic.org.sg)

Global Public Media (globalpublicmedia.com)

reports, because they are the preferred publishing locations for

those areas. If we look at key books from TV Studies 1.0 and 2.0

over the past four decades, which tend to come from more critical, progressive tendencies, certain common themes and developments

become clear. 2 I have prepared two matrices of such foundational texts. After all, as Foucault said: “On ne me fera jamais croire qu’un livre est mauvais parce qu’on a vu son auteur a la télévision” [“You’ll never persuade me a book is no good simply because its author has been on television”] (2001: 925).

The first matrix features notable contributions from the late 1960s through the 1980s (Table 1.4).

Table 1.4 Form of analysis Example Feminist Studies Ien Ang, Het Geval Dallas, Muriel G. Cantor and Suzanne Pingree, The Soap Opera, Richard Dyer et al.,

Coronation Street, Helen Baehr and Gillian Dyer, Boxed-In, Dorothy Hobson, Crossroads, Michèle Mattelart, Women, Media and Crisis, Tania Modleski, Loving with a Vengeance, Gaye Tuchman et al., Hearth and Home

Genre Study Samir Allam, Fernsehserien, Wertvorstellungen und Zensur in Ägypten, Raymond Williams, Television, Robert C. Allen, Speaking of Soap Operas, Jane Feuer et al., MTM, Albert Moran, Images & Industry, Cristina Lasagni and Giuseppe Richeri, L’altro mondo quotidiano, Brian G. Rose, TV Genres, George W. Brandt, British Television Drama, Jim Cook, Television Sitcom, Stanley Cohen and Jock Young, The Manufacture of News

Political Herbert I. Schiller, Mass Communications and American Empire, Luis Ramiro Beltrán and Elizabeth Fox, Economy and

Comunicación dominada, Ariel Dorfman and Armand Mattelart, Para leer al pato Donald, Armand Mattelart, Cultural

Multinationales et systèmes de communication, Raymond Williams, Communications, Philip Schlesinger et al., Imperialism

Televising “Terrorism,” Stuart Hood, On Television, Richard Collins et al., The Economics of Television, Jack G. Analysis

Shaheen, The TV Arab, Kaarle Nordenstreng and Tapio Varis, Television Traffic Ideology

Edward Buscombe, Football on Television, Colin McArthur, Television and History, Herbert I. Schiller, The Mind Critique

Managers continued

Table 1.4 continued Form of analysis Example

Erik Barnouw, The Sponsor, Asa Briggs, The BBC, Erik Barnouw, Tube of Plenty, KS Inglis, This is the ABC,

National

Television Asa Briggs, Sound & Vision, Masami Ito, Broadcasting in Japan, Tom Burns, The BBC, John Tulloch and History

Graeme Turner, Australian Television Production and Manuel Alvarado and Edward Buscombe, Hazell, John Tulloch and Manuel Alvarado, Doctor Who, Gladys Daza

Audience Hernández, TV.cultura, David Morley, The Nationwide Audience, Bob Hodge and David Tripp, Children and Ethnography

Television, Todd Gitlin, Inside Prime Time, Philip Elliott, The Making of a Television Series, Albert Moran, Making a TV Series, Muriel G. Cantor, The Hollywood TV Producer, Horace Newcomb and Robert S. Alley, The Producer’s Medium, Herbert Gans, Deciding What’s News, Roger Silverstone, Framing Science, Manuel Alvarado and John Stewart, Made for Television, John Tulloch and Albert Moran, A Country Practice

Media Criticism Horace Newcomb, TV: The Most Popular Art, Hal Himmelstein, Television Myth and the American Mind, John

Fiske and John Hartley, Reading Television, Stuart Hall and Paddy Whannel, The Popular Arts

Anthology James Curran et al., Mass Communication and Society, Tony Bennett et al., Popular Television and Film, E. Ann Readers

Kaplan, Regarding Television, Len Masterman, Television Mythologies, Horace Newcomb, Television: The Critical View, Phillip Drummond and Richard Paterson, Television in Transition, Phillip Drummond and Richard Paterson, Television and its Audience, Michael Gurevitch et al., Culture, Society and the Media