Download Tele-ology: Studies in Television by John Hartley PDF

By John Hartley

Teleology brings jointly John Hartley's paintings on tv. The publication attracts on present serious conception in cultural reports to advance a wide-ranging and thought-provoking view of tv broadcasting in Britain, Australia and the USA.Neighbours, Hancock's part Hour, Dallas, Monty Python, Miami Vice, Beverly Hillbillies and Bonanza are one of the examples of television artwork which are mentioned in Hartley's exploration of cultural politics. he's taking in television fact and propaganda; populism within the information; mythologies of the viewers; television drama as a `photopoetic' style within the culture of Shakespeare; Kylie Minogue, Madonna and gardening exhibits.

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21 22 Television theory TEXTS The practice of reading television texts has demonstrated fairly clearly that individual segments, programmes, series and so forth are far from unitary in their meaning. In fact television provides a convincing instance of the structuralist axiom of ‘no intrinsic meaning’. Television texts are polysemic, and they resist attempts even to identify their smallest signifying units, since there are so many different kinds on the screen at once: visual, verbal, aural, discursive, narrative and so on.

Again, families are foregrounded, usually as victims or consumers. The parties to industrial disputes are sorted out by both camera and narrative point of view into we and they positions. But just as youth is ambiguous in this respect—it is both us and them—so too are the initiators of negative action, strikers. They partake of the attributes of foreigners (the paradigm examples of which, of course, until the late 1980s, were the Russians), which is what makes them scandalous (see chapter 5). HEGEMONY It may by now be apparent that this chapter too is ambiguous as to its boundaries.

21 22 Television theory TEXTS The practice of reading television texts has demonstrated fairly clearly that individual segments, programmes, series and so forth are far from unitary in their meaning. In fact television provides a convincing instance of the structuralist axiom of ‘no intrinsic meaning’. Television texts are polysemic, and they resist attempts even to identify their smallest signifying units, since there are so many different kinds on the screen at once: visual, verbal, aural, discursive, narrative and so on.

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