Film Final

direct-cinema documentary

General qualities: • little prior planning • actions never staged • rough visual image • direct sound recorded on site • no guiding voiceover, little non-diegetic music

traditional documentary

General qualities: • prior planning • sometimes staged material • "pictorial" quality • post-production sound and "voice-of-God" narration

premium cable

HBO, Showtime, Starz, Cinemax, Epix, etc. funded primarily by subscription fees.

challenges to traditional TV advertising

Hard to target the customers you will buy your products

"Stories We Tell" recreates past moments and doesn't always clearly signal what is a real event captured on film and what is a reenactment. Does this undermine the film's documentary integrity, or is it allowable given what the film is trying to accomplish, in your view?

I think the use of the reenactments reflects the theme of memory and how we all have our interpretations of the truth. One could argue that the actual home video footage does not truly reflect the Diane, Polley is searching to understand. Therefore, Polley is using her artistic expression to subtly coney her interpretation of past events.

How is fandom presented in "The Empty Hearse," and what do you think Henry Jenkins would say about that?

In Henry James's article he explore the stereotype of fans, describing the closeness between a Newsweek article and a hyperbolic SNL skit about Star Trek fans.

broadcast newtworks

NBC, CBS, ABC, FOX, The CW, Univision, Telemundo, PBS Networks sell audiences to advertisers.

Video on demand

Netflix, Hulu, Amazon, YouTube, Vimeo, etc. funded primarily by subscription fees.

digital video

No longer need film to make a movie, technology allows for digital filming.

Streaming U Article

Northwestern vs. Community College - CC more likely to own TV sets.

place-shifting

People are now watching on tablets and phones which makes viewing more mobile and on the go

What does Leah Anderst, author of "Memory's Chorus: Stories We Tell and Sarah Polley's Theory of Autobiography," say are the film's primary themes, especially related to Polley's pursuit of the truth about her past and her construction of a film about that truth?

Polley doesn't care so much about the plot or events in her mother's story but is more interested in the story's telling and in the ways that truths, people, and selves can be told and represented. These conflicting stories unearth the notion that truth is contingent upon both the teller and the audience. For example, the different reactions to Diane's pregancy stand side-side by side and are not pursued by Polley. These perspectives reveal the complexity of truth because Diane was probably a mixture of happy and sad about the pregnancy.

According to Pozner, what are the political and cultural implications of reality TV's representations of gender, race, and class? Why are audiences so compelled to watch these representations, even when aware of their problematic and manipulated nature? Do you agree with Pozner's argument that young audiences today too often have unconcerned, uncritical reactions to the genre? Does reality TV - either in general or in terms of specific shows -warrant any defense against Pozner's criticisms?

Reinforce deeply ingrained societal biases about women and men, and love and beauty, and class, and happiness in America. The public underestimates the depth and deception invovled.

Netflix originals

Shows only Netflix that depict original content that is created and driven by the streaming service. Ex. House of Cards. Can also include shows picked up from cable TV in order to make additional seasons Ex: Fuller House

carriage fees

Small monthly fee per subscriber, which is normally paid by pay-TV service providers/platform operators to the channels they carry

stars as semiotic signs

Stars are signs that signify cultural meanings, and our knowledge of stars is based solely on them as constructed images/signs.

As Poniewozik writes, "Netflix's chief content officer, Ted Sarandos, has said he considers the first season of a series, not the first episode, to be the 'pilot.' So its premieres tend not to grab you so much as let you sink in." Does that accurately describe Master of None's first episode? Why or why not? How does the first episode of Master of None compare to Breaking Bad's first episode, which draws from narrative conventions that pilots typically use to launch a series? Does this first episode (which is not a pilot) indicate that the series will offer "The Suck," as Poniewozik terms it, rather than having "the hook" typical of a television pilot?

Streaming services can assume more patience, which is evident is Master of None because of the pace of the show is much slower than a regular TV sitcom. Conversations are drawn out and can be nonessential to other plot of the episode. Breaking Bad clearly sets up the arcs and characters for the season. Walter has cancer, needs money, is going to sell meth to get it for his family. On the other hand, Master of None conveys no clear plot or seasonal arc after the first episode but simply provides a comedic 28 minutes for viewers to enjoy. "Master of None is bluntly episodic and highly serial" Each episode can stand alone but viewers enjoy watching Dev's unique experiences and his arc with relationships and his career throughout the season.

Black Mirror: Be Right Back

Technology changes. People don't. Something closer to an actual human being, who actually at least possesses the ability to react emotionally. Without logic. Not a machine that is programmed to respond in a series of algorithmic, non-violent ways.

"Introduction to Reality Bites Back" What does Jennifer Pozner find so problematic about reality TV? Why is the genre particularly problematic for its representation of women, in her view? How do the economics of reality television help explain why these shows are on the air and why these representations are so pervasive? What manipulations in editing, casting, writing, and producing are common in the genre?

That is doesn't accurately represent reality. They are not steeped in social belief, and rather than adding depth they represent a superficial outlook. Conveys women are not having ability to make their own choices, and not wanting to either. They are cheap and easy to make. Even if they don't get high ratings they will still get renewed because "They are so cheap that they are expected to do little more than fill air time." They seek to amplify bias about society and get us to think less and buy more. "We shoot 100% of the time and air 1% of what we shoot."

Stories We Tell is a narrative documentary, as the story of director Sarah Polley's paternity unfolds across the non-fiction film in a causal chain. What techniques of narrative storytelling typically used in fiction films does the film draw from? What documentary techniques does it utilize?

The character uses actors that bear resemblance to her mother, father, and family members (including herself) to depict the past making it appear realistic. It consists of extensive interviews, voiceover narration, archival footage. Prior planning and and staged footage to tell not multiple stories, but a single story from multiple perspectives.

How do the show's depictions of reality TV fit with or diverge from what you know of reality TV from watching it? How are the show's fictional producers (Rachel and Quinn) represented? Does anything in the episode resonate with Jennifer Pozner's claims about reality TV?

The contestants are molded in predetermined stock characters. In the episode, there is the older women we are supposed to feel sorry for, and classic mean girl. Also reveals how involved the producers and counselors are in trying provoke the contestants to start fights and create drama.

dominant ideology

The dominant (i.e. not largely contested) ideas at a particular historical moment. In our case, the dominant values, beliefs, and norms that pervade American society at a given time.

Poniewozik argues that Netflix original series are "becoming a distinct genre all their own, whose conventions and aesthetics we're just starting to figure out." What are some of the conventions and aesthetics of these series? How do these conventions and aesthetics differ from network television's conventions and aesthetics? Which of these are evident in the first episode of Master of None?

The pilot does not need to perfectly encapsulate the essence of the show. For Netflix viewers it can take a couple episodes for a viewers to become hooked. There is no need for cliffhangers and repetition of important information. No need for act structure because there are no commercials. No clear beats, no clear issue that needs to be solved. Shows can be more detail-oriented and meaningful, using setting and mis-en scene. All are evident in Master of None.

hegemony

The process of accepting dominant cultural norms as part of our everyday lives and as common sense.

Plastic Representation Why does Warner find the "representation matters" catchphrase and declarations of positive and negative images insufficient as ways to judge the value of black representation in visual media? How does she deem such representation as potentially "hollowed, malleable signs with artificial origins" or as "plastic representation"? What is plastic representation? Why is merely quantifying the number of black faces on screen or using colorblind casting not sufficient in her view? How is representational "dimension" and cultural specificity more important than "box checking"? What does she think true progress might look like in fixing systemic representational problems in visual media?

The scale of positive and negative oversimplifies the complexities of balck dientity that require audiences and scholars to invest in screen characters through experiencing nuances developed over time. Representation is only existing in numbers not in narrative. Plastic representation is an artificial portrayal of characters which lacks depth and complexity. We can one step further beyond color blind casting and actually create roles for African Americans that are reflect their exeperiences and identity. "Box checking" creates the facade of progress when in reality little is being made. She beleives there needs to more diversity in the writing staff, because directors can only do so much, diversity must stem from those who create the narratives and scripts.

In what ways is "Benedict Cumberbatch" literally and figuratively framed as a star in "The Empty Hearse"? What elements of his star image is the episode capitalizing upon and trying to further? What semiotic signs in the episode are part of the "Benedict Cumberbatch" star image?

The star image combines together person, roles, and persona, so it is important on ways that the star is meshed together with the character. In the first act of Sherlock there is an emphasis on showcasing Sherlock and literally how he looks — cleaning him back up into the Cumberbatch Sherlock that fans know and love, like when he makes almost a ritual of putting on his trademark coat. Or think of the shot when Sherlock's finally about ready to go out in public and he's standing on some rooftop overlooking London as the camera swirls around him: a definite star showcase shot that shows off Cumberbatch's unique look of squinty eyes and distinctively curly hair. There are also countless shots of Sherlock literally just looking and thinking, which helps to cement the notion of Cumberbatch himself, and not just Sherlock, as an insightful genius.

What role does intimacy play in Redmond's conception of contemporary fame and celebrity?

There can be a productive intimacy between fans and celebrities - can create relationship that is experienced as first-hand, and meaningful to both parties. Celebrity confessionals reveal their struggles/beginnings invites fan to feel close to them and empathize with their emotions Fans can feel as if celebrities are directly smiling at them through the screen, creating a false intimacy

Awkward Black Girl takes advantage of its low-budget production/low-stakes distribution and creativefreedom to offer unconventional representations. What do you see in the episodes that you don't think you would see in a mainstream series on the network or basic cable TV? What do you think Kristen Warner might say about the two episodes and their representations of race and cultural specificity?

There is intense swearing when attempts to write rap lyrics . The slam poetry event. Warner would support the depth provided to the main protagonist as she turns the African American stereotype on its head.

the relationship between documentary and truth

Usually strives to uncover and reveal a truth

time-shifting

Viewers don't watch TV live, can record for later.

Black Mirror: 15 Million Merits

What advertising may look like in the future, technology's ability to make us forget what is real, and our corrupt entertainment values.

What does Anderst argue is the point of the film's use of a variety of visual materials and personal perspectives to tell the story of Polley's paternity?

Where autobiography filmmaking creates a hierarchy for a position of authority the true chorus where she gives equal weight to each piece of information and opinion, to each version of the story, and to each kind of telling. Hers is a radically democratic project, but a project that nonetheless shines a light on her own very personal and very intimate history. She highlights, simply by including them, moments where her participants question her or express surprise or disagreement with her. Because her theory of autobiography and documentary is one of plurality and collaboration, Polley attends to the potential problems, the opportunity for disaccord and awkwardness that just such a theory, put into practice, might entail.

pilots

a sample episode of a proposed television program

discourse analysis

an essay perceived to be meaningful unified and purposive, can be analyzed

nielsen ratings

audience measurement system designed to assess the size and composition of TV audiences

cultural norms

behavior patterns that are typical of specific groups

television as a cultural forum

cultural forum model says network television may contain diverse ideologies and hail multiple ideological positions so as to try to appeal to broad audiences

nomads

fans that cannot settle down in just one fandom, but participate in a number of them.

textual poachers

fans that participate in the production of content using inspiration from the texts that they enjoy.

documentary

films that claim to present factual information about the world and that present themselves as factually trustworthy about their subjects

fandom

it is the realm of fans, the kingdom of fans. Also used to mean the state or condition of being a fan of someone or something.

categorical form

organizing the material around groupings or classifications

rhetorical form

organizing the material into a persuasive argument

narrative form

organizing the material so that it tells a story

journalism of affirmation

"A new political journalism that builds loyalty less on accuracy, completeness, or verification than on affirming the beliefs of the audience, and so tends to cherry-pick information that serves that purpose."

journalism of assertion

"A newer model that puts the highest value on immediacy and volume and in so doing tends to become a passive conduit of information."

journalism of verification

"A traditional model that puts the highest value on accuracy and context."

What potentially positive and empowering outgrowths of celebrity consumption does Redmond pinpoint?

"There is, then a period of time when the use of the shiny commodity-celebrity thing increases self-worth and self-esteem, when one feels empowered by the thing, and more alive than one did before it was possessed." Not only can a fan see themselves differently but they can also see themselves accurately, as humans influenced by capitalism. One can also buy star commodities without buying into dominant ideology. Some products can subvert popular beliefs.

What roles do authenticity and "the ordinary" play?

"With the proliferation of shows and series that offer the rewards of fame to the ordinary/extraordinary, this chance to shine is seen to be repeatedly given in what is called the democratic turn of fame where one and all are potentially welcomed through its glittering doors" It seems like celebrities ordinary people can achieve fame by simply being themselves and possessing a talent that the entertainment world appreciates. An authentic celebrity is someone who projects a sincere and genuine image through their behavior that people can connect with and form some type of relationship with. Again, the importance of open and honest communication/behavior is emphasized. Consumers believe celebrities are true when they are transparent about who they are and what they stand for. In addition, some evidence suggests that celebrities should be seen behaving consistently and upholding perceived personal values.

What would say you are the primary themes of Stories We Tell? What does the film say about truth, memory, how we construct stories about our pasts, and documentary storytelling?

"a cacophony of voices is what can approximate the truth, even if it never really gets there." a story told of an experience is a recreation, a textual version of the experience and only one version of it, at that. Others' versions will be different but equally true, and it is only from the combination of the many versions that some truth can arise

representation

"taking facets of the real world and presenting them on screen, but altering their meanings through the act of televising them."

authenticity

"the perception that a celebrity behaves according to his or her true self.

What does Smith say is the institutional and economic basis for the numerous slow-paced shows airing on AMC? What tropes has AMC borrowed from HBO for its original series despitebeing economically based the basic cable model, not the premium cable model? What value does a low-rated show like Mad Men offer to AMC, if it isn't compatibility with advertising revenue and traditional ratings standards?

1st Question: 2nd Question: A low-rated show like Mad Men targets a niche audience, specifically more educated and wealthy viewers who appreciate the premise of the show. Therefore, AMC is attracts specific high end advertisers such as BMW, which benefits these companies because they know the people who will buy their products are watching the show. Therefore, these luxury companies don't waste money on viewers who will not/can't afford to become loyal customers.

celebrity

A person who is known for being well-known, without a skilled performance component beyond "being themselves."(i.e. there's no roles component and person and persona appear to be the same thing)

ideology

A set of shared values and beliefs held by a group of people

stereotypes

A widely held but fixed, narrow, and oversimplified image or idea of a particular type of person or cultural identity

basic cable

AMC, FX, TNT, TBS, ESPN, Freeform, CNN, Fox News, USA, HGTV, Food Network, Discovery, Bravo, etc.

semiotic signs

Anything that conveys information, generates meaning

What economic conditions separate broadcast network television from basic cable and both from premium channels?

Broadcast network television is dependent on ad revenue. Their goal is to sell viewers to advertisers. Basic cable channels have the ability to create shows that target niche audiences in order to attract specific advertisers (higher end ones) and can leverage their carriage fees. Premium channels model their economic conditions on selling subscriptions to viewers who appreciate their content and ad-free TV model.

culture industry

popular culture is akin to a factory producing standardized cultural goods—films, magazines, etc.—that are used to manipulate mass society into passivity

person

the actor's actual private life, of which we can never know the genuine truth and we only get limited, highly mediated access to via paparazzi and publicity.

role

the characters the actor plays, which lead us to attach certain personality characteristics to the actor

signified

the meaning we associate with the signifier. Ex: red hexagon = stop apple = freshness

signifier

the physical manifestation of the sign (sound, word, image) Ex: a stop sign or an apple. A signifier can have multiple signifieds

stardom

the state or status of being a famous or exceptionally talented performer in the world of entertainment or sports

hailing

upon being addressed or "hailed" by a text we are open to identifying with a particular ideology or identity. if we don't feel hailed, we are less likely to watch.

transformative works

used as a formal and legal expression for fanworks. produced by one or more fans, generally intended for other fan

image

what cultural meanings the star signifies, which help to explain why s/he is a source of fascination for many

persona

what we assume about a star's personality based on our combined knowledge of the person and roles

Around what aspects are contemporary society's obsession with stardom and celebrity primarily oriented, in Redmond's view? Does any of Redmond's account resonate with your own celebrity and star fandom?

Contemporary society's and obsession with stardom are motivated by capitalism. Stars are commodities that are bought into and the products they attach themselves to give fans the opportunity to connect with the star on a deeper level through emulation. (Ex: Buying a celebrities perfume.)

What cultural functions, both positive and negative, are served by attention to celebrity?

Crafts a success myth, that if you word hard enough and are talented enough you will become famous. Celebrities and their products promise the "good life" Aspects of fame damage: intensity of being famous has negative impact on celebrity inflicted by themselves (depression, drugs) or others (Stalking)

How are investigation, knowledge, and collective intelligence presented in the episode, and what do you think Matt Hills would say about that?

Emphasis on knowledge might privilege more affirmational or analytic modes of fan engagement. Sherlock challenges any omniscient hierarchy of 'useful' and 'useless' knowledge. Holmes can't know in advance what will be relevant to his detective work. But he doesn't need to know in advance because he because he's networked - he can consult digitally at the scene of the crime. Holmes really would be lost without his blogger... and without "indispensable" fan sites. These fan sites suggest the validity of fan knowledge itself.

What points does the Master of None episode make about television's representational limitations and the career challenges minority actors often face as a result? Do you see any connection between the themes of this episode and the argument Kristen Warner makes in her article, "Plastic Representation"?

Even as shows try to push towards diversity, their idea of inclusion is extremely limited; as "Indians On TV" highlighted, there's only space for one brown person per show. The show itself actively breaking that rule, showing three Indian character in a scene at once, none of which represent the classic racist Indian stereotypes shown in the opening. With Master Of None and its cast of diverse characters, Ansari not only tells, but shows, that a series can be successful, brilliant, funny and poignant — without a predominantly white cast. Warner makes the argument in her article that although there has an increase in diversity in the number of actors in shows, their ethnicity is not accurately represented by their character. She believes studios believe hiring racially diverse actors become an easy substitute for developing new complex characters.