Kelly Spinks
CGD 218
Larry Sexton
October 27, 2009
In Producing an Aristocracy of Culture in American Television Christopher Anderson discusses how, telecasting is increasingly being considered from a optical outlook, and artistic and social status tends to follow one another.2 genius way of making TV appeal to the consumer has been to upgrade conventions of production, visual style and storytelling. Or more precisely, to create an impression of an upgrade, by dint of textual strategies but also symbolically, through contextual dialogues like comments writers and producers make to reporters and in additional features on DVD. All together, these fight an effort at the cultural legitimizing of television. When an art form rises in status, it often does so by positioning itself in copulation to other acceptable or unacceptable ones, as picture taking once did by aligning itself with painting, and as cinema once did by contrasting itself against TV.3
Central to television’s up scaling, both textual and contextual, is an association between certain kinds of TV and cinema, and also between more and less legitimate kinds of TV. For instance, critics and TV industry professionals often say that
The Sopranos was as good as anything at the multiplex.
By routinely making a cinematic analogy, television culture has been working to legitimize the medium and break its status. One development of the past decade that has been especially meaning(a) in this regard is the move toward widescreen television images. Technological, economic, and cultural forces flummox all contributed to the cinematic aspects of television. The move toward widescreen TV must be seen within a design of contexts. One is technology: television programming shot on film or high-def photograph can be framed in a number of aspect ratios, most commonly the 4:3 of NTSC and the 16:9 of HDTV. Within the culture of TV production, many imaginative (directors, cinematographers) prefer to...If you want to get a full essay, hostelry it on our website: Orderessay
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