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The Politics of TV
How Distribution Platforms Affect Cultural Ideology
By Lilia Hadjiivanova
California State University, Los Angeles
Distribution Platforms:
Broadcast Network vs. On-Demand Subscription
o Broadcasting network
o Relies on advertisers
o Importance of ratings
o Broad audience
o On-demand Internet subscription-based streaming
o Relies on # of subscribers
o Importance of ‘quality’ content
o Niche audience
Research Questions
 Does the medium influence the message?
 Is dominant American cultural ideology reinforced or challenged?
 How are the following represented:
 gender (fixed gender roles, masculinity is dominant, femininity is submissive),
 race (racial stereotypes, whitewashing, symbolic annihilation),
 class (prevalence of middle- and upper-class characters),
 American dream (individualism, pursuit of happiness, upward social mobility, “having it all”)
The Shows
VS.
Similarities
 one-hour political dramas which combine melodrama and violence
 depict issues of power, loyalty, marriage, and political back-stabbing
 have diverse casts and strong female leads
 innovative
Differences: Broad vs Niche
o Melodrama / Soap opera feel
o Emphasis on romance
o Fast-paced editing
o Outrageous plot twists
o Weekly ‘amnesia’
o “Guilty pleasure”
o ‘Quality’ / Cinematic feel
o Emphasis on politics
o Slow pace
o Plausible plot twists
o Episodic ‘memory’
o Literary references
Differences: Gender
o ‘Livvie’ goes from being outspoken,
independent (S1) passive, emotional
mess (S2)
o Heterosexual, romantic
o Family-oriented
Her happiness is contingent on love
o Egalitarian marriage
o Ambiguous sexuality, aromantic
o Not family-oriented
o Open relationship
Her happiness is contingent on power
Differences: Race
o Assimilationist
(colorblind)
o Black Boss Lady, Scary
Black Man tropes
o Multicultural (diversity)
o Representation of
otherwise symbolically
annihilated populations
e.g. Native Americans
Gray, H. (2000), “The Politics of Representation in Network Television” in
Newcomb, Horace. Television: The Critical View. New York: Oxford
University Press
Differences:
Social Class & the American Dream
o Middle- / Upper-class characters
o Pursuit of happiness / Desire to “have it
all”
o Reinforces the American Dream
o Working-class characters in main roles
o Pursuit of power / Not wanting “it all”
o Attacks the American Dream
Conclusion
o Goal to sell a product (other than the show itself)
o Lowest common denominator
o Reinforces dominant values
o Does not address racism / class inequality
o reaches more people, but represents a
limited part of the population
o Goal to sell the show
o Niche
o Challenges hegemonic ideals
o Addresses racism / class inequality
o reaches fewer people but
represents a broader, more diverse population

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The Politics of TV FINAL

  • 1. The Politics of TV How Distribution Platforms Affect Cultural Ideology By Lilia Hadjiivanova California State University, Los Angeles
  • 2. Distribution Platforms: Broadcast Network vs. On-Demand Subscription o Broadcasting network o Relies on advertisers o Importance of ratings o Broad audience o On-demand Internet subscription-based streaming o Relies on # of subscribers o Importance of ‘quality’ content o Niche audience
  • 3. Research Questions  Does the medium influence the message?  Is dominant American cultural ideology reinforced or challenged?  How are the following represented:  gender (fixed gender roles, masculinity is dominant, femininity is submissive),  race (racial stereotypes, whitewashing, symbolic annihilation),  class (prevalence of middle- and upper-class characters),  American dream (individualism, pursuit of happiness, upward social mobility, “having it all”)
  • 5. Similarities  one-hour political dramas which combine melodrama and violence  depict issues of power, loyalty, marriage, and political back-stabbing  have diverse casts and strong female leads  innovative
  • 6. Differences: Broad vs Niche o Melodrama / Soap opera feel o Emphasis on romance o Fast-paced editing o Outrageous plot twists o Weekly ‘amnesia’ o “Guilty pleasure” o ‘Quality’ / Cinematic feel o Emphasis on politics o Slow pace o Plausible plot twists o Episodic ‘memory’ o Literary references
  • 7. Differences: Gender o ‘Livvie’ goes from being outspoken, independent (S1) passive, emotional mess (S2) o Heterosexual, romantic o Family-oriented Her happiness is contingent on love o Egalitarian marriage o Ambiguous sexuality, aromantic o Not family-oriented o Open relationship Her happiness is contingent on power
  • 8. Differences: Race o Assimilationist (colorblind) o Black Boss Lady, Scary Black Man tropes o Multicultural (diversity) o Representation of otherwise symbolically annihilated populations e.g. Native Americans Gray, H. (2000), “The Politics of Representation in Network Television” in Newcomb, Horace. Television: The Critical View. New York: Oxford University Press
  • 9. Differences: Social Class & the American Dream o Middle- / Upper-class characters o Pursuit of happiness / Desire to “have it all” o Reinforces the American Dream o Working-class characters in main roles o Pursuit of power / Not wanting “it all” o Attacks the American Dream
  • 10. Conclusion o Goal to sell a product (other than the show itself) o Lowest common denominator o Reinforces dominant values o Does not address racism / class inequality o reaches more people, but represents a limited part of the population o Goal to sell the show o Niche o Challenges hegemonic ideals o Addresses racism / class inequality o reaches fewer people but represents a broader, more diverse population