“One can never have a text that breaks allthe rules that people can understand. Youcan avoid a given system (or conventionsin a text) but you must have some system”(Berger 1994, p. 53)
“Structures, of the type seen in forms andformats, aren‟t just constraining; they alsoenable the making of television” (McIntyre2011, p. 130).
“Without this structured approach tomaking television or a method of workingthat is efficient and fast, it is arguable as towhether television would have as muchcontent to broadcast as it does” (McIntyre2011, p. 128).
“The only way you can manufacturequality, I think, is to have control. It‟s aword I use a lot. I believe in control,”(Martin Quinn quoted in Newcomb & Alley1982, p. 74)
“Creativity is never a process of totalfreedom,” (Newcomb & Alley 1982, p. 88).
“How can a free-willed producer ofcreative works be original and authentic,or more importantly in this case, creative,when they are working within theconstraints of a tightly formatted structureimposed by corporate culture?” (McIntyre2011)
http://www.youtube.com/watch?v=Az6 5I9Kp4UcTens CEO James Warburton said: "As partof the renewal of Network Tens creativecontent, we are trying new formats andcreating more programming options.Unfortunately, we didnt get the EverybodyDance Now format right”.
“Excessive control „from the top‟ hasproduced some material on television thatis uninteresting to certain critics and certainviewers, but it can also be claimed that ithas also produced material that has beeninteresting to many others, dependent ofcourse on their level of use, gratificationand activity as viewers, fans oraficionados.” (McIntyre 2011, p. 119)
Creativity without some form of control would be chaos Television producers need to find a workable balance
“You have to know the rules before youbreak the rules,” (Martin Quinn inNewcomb & Alley 1982, p. 75).
“In order for a cultural producer to engagewith this process of cultural change, theymust understand the conventions andtraditions, that is, the rules, forms andstructures of the domain they work in, andunderstand them extremely well” (McIntyre2011, p. 127).
What are the pros and cons of highly structured television programs that simply slot in new story lines (e.g. The Simpsons)? SMH (2012) reported that “on another front, Ten is also fighting a battle of perception, with the media rewarding them for critically appealing shows, but punishing them for other shows when it suits the headline”. How do we view shows that exhibit little innovation? Which do you think would lead to the most creative television shows and why; extensive creative control, or little to no creative control?
Berger 1994 in Lecture Week 7 Byrnes, H 2012, „Ten‟s Everybody Dance Now gets the chop‟, Herald Sun, 21 August, viewed 5 September 2012, <http://www.heraldsun.com.au/entertainment/tens-everybody-dance-now- gets-the-chop/story-e6frf96f-1226455173972>. Dictionary.com, 2012, Creativity, <http://dictionary.reference.com/browse/creativ ity?s=t>. Idato, M 2012, „Can Ten Survive? Outback talent show fails to entice‟, The Sydney Morning Herald, 22 August, viewed 5 September 2012, <http://www.smh.com.au/entertainment/tv-and-radio/can-ten-survive- outback-talent-show-fails-to-entice-20120822-24le4.html>. McIntyre, P 2011, Creativity and Cultural Production, Palgrave Macmillan, Great Britain. Newcomb, H & Alley, R 1982, „ The producer as artist: commercial television‟, in J Ettema & C Whitney (eds), Individuals in Mass Media Organisations: Creativity and Constraint, Sage, Beverly Hills Calif., pp. 69-89. Newman, M 2006, „From beats to arcs: toward a poetics of television narrative‟, Velvet Light Trap: A Critical Journal of Film and Television Studies, no. 58, pp. 16-28. Ryan, B 1992, „Rationalising the creative stage of production: the formatting of creativity‟, in W de Gruyter (ed.), Making Capital from Culture: The Corporate Form of Capitalist Cultural Production, Berlin, pp. 145-184. http://www.youtube.com/watch?v=Az65I9Kp4Uc