Articles tagged with: week 4

What is Genre?

on Thursday, 28 April 2011. Posted in Student Notes


“What is Genre?” provides a basic explanation of how genres are used for all media forms (including television, radio, film, written fiction, theater, journalism, and music) to group things into categories based on conventions, features, and norms.


Genre is a French word meaning ‘type’ or ‘kind’ that essentially functions to group texts together according to their similar character types, setting, iconography, narrative, and style. Genres provide a more simple way of saying, “this is the kind of thing that happens in this kind of text” (1). They allow the spectator to discriminate between different kinds of texts, such as comedies, melodramas, tragedies, thrillers, musicals, sitcoms, the news, and soaps. Quite often, whole TV channels are marketed to specific audiences according to genre, such as sports (ESPN), the news (CNN), music videos (MTV), and entertainment (E!). By classifying a text based on its attributes, genres form audience expectations.

What is Genre?

on Thursday, 28 April 2011. Posted in Student Notes


Genre plays an important role in the study of literature, theatre, film, television, and other art and media forms, allowing for particular mediums to be classified under well-known or customary groups of categorization. In English-speaking countries, genre was applied to the literary works of the nineteenth century, a product of an industrialized subsidization of popular works of literature in order to provide an impersonal, formulaic, and mass-produced property easily distinguishable from individualized art. The determination of genre is based primarily on viewer/audience recognition of generic norms, features and conventions seen in conventional media. Audience participation and acknowledgment is inherent to the nature of generic determination, as viewers provide either an active or passive sense of expectation concerning the substance of a desired film/program, therefore allowing for differing degrees of generic preference. In addition, the intertextual relays of media institutions play a key role in generating generic expectations, as well as providing labels and names for genres centered around a basis for grouping films, television programs, and other works of text together. However, a point of divergence can be made concerning the determination of genre, as it can be argued that institutions and their terms only provide a starting point for constructing corpuses, and that the identification and definition of a genre's principal features determines it's established grouping.

Chapter 12 – The Culture of Journalism: Values, Ethics, and Democracy

on Tuesday, 26 April 2011. Posted in Student Notes



Chapter 12 in Media Essentials discusses the current state of journalism and how it has evolved as we enter into the Information Age. We learn that news is “the process of gathering information and making reports using a narrative framework” and that there is a criteria for what journalists consider to be “newsworthy” – the timeliness, proximity, conflict, prominence, human interest, consequence, usefulness, novelty, and deviance of stories. While most journalists uphold a number of values (including the principles of neutrality and ethnocentricism), they often times come into conflict over ethics in the news media. In particular, the issues of deception, privacy invasions, and conflicts of interest have led journalists to seek answers from philosophic principles to help them resolve these dilemmas.

Chapter 8: Television, Cable, and the Specialization in Visual Culture

on Tuesday, 26 April 2011. Posted in Student Notes



In the development stage of television, early inventors Zworykin and Farnsworth competed to establish a patent for the first electronic TV. TV developed technical standards and turned into a business and eventually the FCC adopted analog for all U.S. TV sets. Later channels began being assigned and the color standard was introduced. As television soon began to become a big business, broadcast networks competed for control over its content, mainly by setting out to diminish sponsors’ influence on and ownership of programming; spot advertising developed. The introduction of cable provided access for communities that couldn’t receive airwave-based broadcast signals along with posing a major competitive threat to broadcast television.