Final Syllabus Glued to the Set: TV-Shows, Norms and Culture Spring Credits Major Disciplines:

Transcription

1 1 Glued to the Set: TV-Shows, Norms and Culture Spring 2017 Copenhagen 3 Credits Major Disciplines: Communication. Film Studies. Media Studies. Faculty Member: Anne Jespersen, annejesp@gmail.com Program Director: Iben de Neergaard, Vestergade 10 A23, idn@dis.dk Assistant Program Director: Nya Oxfeldt Jensen, Vestergade 10 A23, noj@dis.dk Program Assistant: Jenny Han, Vestergade 10 A23, yh@dis.dk Thursdays, , Room N7 A23

2 2 Course Description: TV shows and sitcoms like Modern Family, Mad Men, Breaking Bad, The Killing, House of Cards, The Office, I love Lucy; and characters like Cosby, Homer Simpson, and Will and Grace both reflect and shape our societies gender roles, race relations, class divisions, sexual norms, and values. This course critically analyzes the history and importance of various TV genres and shows in the U.S., England, and Scandinavia and view them as mirrors of society and culture. The course offers an introduction to television history in the USA and Europe. It presents the rise of television in its various organizational forms (e.g. BBC in 1936 and NBC in 1939), and looks at concrete television genres and programs, while analyzing them as sociological mirrors or portraits of the time in which they were made. Each class will concentrate on one period, theme or aspect of television history and/or analysis and will often include a related viewing of a concrete program. The approach will be analytical, aesthetical, and historical. Instructor: Anne Jespersen. Cand.mag. (English Literature, Film History and Theory, University of Copenhagen, 1982.) Editor of the yearbook "Filmsæsonen". Bookpublisher (Forlaget April) Has translated several books and written film reviews and filmhistorical articles in periodicals both in Denmark and abroad. Lectures in Film and Television History and Theory at the Department of Film and Media Studies at The University of Copenhagen. Has frequently lectured at The European Film College in Ebeltoft, Denmark, at Hamburg Media School, and at other universities abroad. Has taught different film courses at DIS (Contemporary European Film, History of European Film), as well as a course on Popular Culture. With DIS since Tel.: annejesp@gmail.com Objectives: By the end of the course, each student will have gained: - A sound knowledge of the history of American and European television and its relation to cultural and social conditions. - An understanding of the basic facts and methods of media analysis. - The ability to produce an academic research paper demonstrating critical media literacy and the ability to interpret and discuss the history of American and European television. Method: The course will include lectures, discussions of shows and required readings, and viewings of individual shows. Attendance Policy: Attendance at all scheduled classes is required, and each student is responsible for all material covered or assigned in class. All papers and exams must be completed in order to pass the course. Included in the computation of the final grade in the course is participation. Participation extends to all class sessions, film viewings, as well as activity in class discussion and a general contribution to the progress of the class. If you miss two classes, the Director of Teaching and Learning, and the Director of Student affairs, will be notified and they will follow-up with you to make sure that all is well.

3 3 Laptop Computer Policy: While most students find that taking notes by hand in class is quite sufficient for review purposes, you are allowed to use a computer in class for writing lecture/discussion notes. However, you are asked not to use your computer in class to write s, connect to social media, surf the internet or other such activities as this is quite disrespectful and distracting for both the teacher and your fellow students. Failure to show this courtesy will result in a reduction of your participation grade. Disability and resource statement: Any student who has a need for accommodation based on the impact of a disability should contact the Office of Academic Support (acadsupp@dis.dk) to coordinate this. In order to receive accommodations, students should inform the instructor of approved DIS accommodations within the first two weeks of classes. Literature: All readings are to be found on Canvas. Excerpts from, among others, these books: Anthony Smith (1998): Television: An International History Gorman & McLean (2003): Media and Society in the Twentieth Century (Blackwell) Steven D. Stark (1997): Glued to the Set (Dell Publishing) Gerard Jones (1992): Honey I m Home. Sitcoms: Selling the American Dream (St. Martin s Press) Edward Buscombe (2000): British Television. A Reader (Clarendon Press) John Corner (ed., 1991): Popular British Television. Studies in Cultural History (BFI) Christopher Anderson (1994): Hollywood TV (University of Texas Press) Robert C. Allen (2009): Channels of Discourse, Reassembled (Routledge) Neil Postman (1985, 2005): Amusing Ourselves to Death (New Edition, Penguin, 2005) Eva Novrup Redvall (2013): Writing and Producing Television in Denmark (Palgrave) Grades & Evaluation: The grades used by DIS instructors are as follows: A = Excellent = 4 B = Well above average = 3 C = Average = 2 D = Below average but passing = 1 P = Pass F = Failure or failure to complete = 0 I = Incomplete (only issued in place of final course grade if an agreement exists for completion by a definite deadline which is approved by the instructor and the DIS registrar). Plus (+) and minus (-) grades are used for examinations and home assignments as well as for final grades. For purposes of calculating grade points and averages, the "+" equals.3 and the "-" equals minus.3. Evaluation: Short Paper 10 % Midterm 30 % Research paper (incl. draft) 40 % Class Participation (incl. TV Moment ) 20 % TV Moment TV Moment is a small assignment that all students are to complete in turns throughout the semester. Depending on the size of the class, two-three students will in each class present a television program or show that has made a big impression on them. It is up to you to decide what kind of impression. It could be

4 4 something very personal, or a program that has given you insight into something new and exciting, or just a fantastic entertaining experience. You are to give a short talk to the class about your choice of program, show one clip (max. 3-4 minutes, - from YouTube or another source). In addition to your talk, you should hand in a written version of your talk. This will provide a part of the final participation grade. Midterm: The test consists of questions of relatively simple facts (like: Who is the artist behind this or that program?), questions of more complex character (like: mention the characteristics of this or that genre), and questions to be answered with a short essay. The answers will be weighted differently. Midterm Exam will be held on March 9. Research Paper Draft: For March 30, you are to prepare a draft of your Research Paper, which will be discussed in groups in class, and handed in afterwards. The draft should indicate the topic of your paper, the issue/question/problem you wish to investigate/discuss, a detailed outline, and the sources you intend to use. When grading the final version of the research paper, the draft will be considered. Research Paper: The topic for the research paper is decided by the student with input from the instructor. Normally, it would be on (or relate to) subjects and television programs dealt with in the course. Suggested structure of your paper: 1. Table of contents. 2. Introduction: Presentation of the subject to be investigated. An overview of the contents. A comment on the methodology. 3. Description: Summaries, observations, references. 4. Analysis: Comments, discussions, comparisons. 5. Summary and conclusion. 6. Notes & Bibliography. The paper should be based on the required reading, the additional reading found in the DIS library and/or the Danish Film Institute Library, the programs seen in class, the class lectures and discussions. In the Introduction and Description, the factual material is presented. The main emphasis, though, should be on the analysis - that is: your personal discussion of the material. It is necessary to present the substance of the topic through paraphrasing and quotations (remember, always to footnote sources of direct quotations), but it is not sufficient only to paraphrase. The analysis of the material - your personal understanding and interpretation - is the important part of the paper. Length: Approx. 12 type written pages, or approx words. You can choose between two deadlines for the handing in of the Research Paper: 1) not later than April 27 (in class), and the paper will be returned to you before the Final exams week. 2) not later than May 4 (in class), and the paper will not be returned to you before the Final exams week. The Danish Film Institute Library is located in the Cinematheque, Filmhuset, Gothersgade 55 (close to Nørreport Station). The Library has a large collection of books, periodicals, stills and other film and television related material. The Film Building also houses a book store, a video library, a cafe, plus three cinemas that show

5 5 films every day (except Monday). When writing your research paper, it is highly recommended that you do some of your research at the library, and/or take out material from their collections. The Film Library is open: Monday: Closed Tuesday Saturday: 10 am. 9 pm. Sunday: 10 am. 7 pm. SCHEDULE: 1. The shaping of television in the 1950s 1. Introduction to the course. Jan 19 The history and development of Radio and Television, c Organization: Commercial vs. Public Service Public Service Television. Case Study: BBC Case Studies: The Hindenburg Crash (May 1937) War of the Worlds (October 1938) Anthony Smith: Television as a Public Service Medium Graham Murdock: Public Broadcasting and Democratic Culture Ken Sanes: War of the Worlds Alan Bellows: The Hindenburg and Humanity 2. The transition from Radio to Television c Jan 26 Case Study: The Goldbergs (Radio , TV ) The Golden Age of American Television Live Television Drama ambitious, creative, controversial Case Study and Class Viewing: Marty (1953) Boddy: The Origin of American Television Hey: Marty: Aesthetics vs. Medium in Early Television Chayefsky: Marty. Two Choices of Material (Gerard Jones: Without Sanka, No Marriage) Political climate in the 1950s and censorship problems The Quiz Scandal and the Loss of Innocence The emergence of television genres / Genre study/theory Disneyland total merchandising Feuer: Genre Study and Television Stone & Yohn: Introduction: Mere Entertainment? Steven S. Stark: Twenty-One, the Quiz Scandal, and the

6 6 Decline of Public Trust (Anderson: Hollywood TV - Disneyland) Feb 2 No Class CORE COURSE WEEK (Feb 6-12) View before Class Feb 16: An episode of I Love Lucy (episode S2-E1 Job Switching ) View before Class Feb 16: An episode of Leave It to Beaver (episode S1-E25 The Broken Window ) View before Class Feb 16: An episode of Bewitched (episode S1-E7 The Witches Are Out ) 2. Central Case Study: The Situation Comedy 3. Feb 16 Establishing the Situation Comedy I Love Lucy: In a class of its own Mintz: Situation Comedy Steven D. Stark: I Love Lucy: The Woman as TV Superstar Gerard Jones: Why Love Lucy? The 1950s From ethnic urban to WASP suburban Creating the suburban ideal Ethnic urban: The Goldbergs, Amos n Andy WASP suburban: Father Knows Best, Leave It to Beaver Steven D. Stark: Leave It to Beaver and the Politics of Nostalgia Gerard Jones: Meeting in the Middle The 1960s Modernity / Symbolic politics JFK & Jackie in the White House / Modern couples: The Dick Van Dyke Show Monsters and Aliens Fantasy a cover allowing the media to tell the truth: Mr. Ed, Bewitched Single fathers and their children A first: Women with (real) jobs: That Girl Steven D. Stark: The Dick Van Dyke Show and the Rise of Upscale TV Steven D. Stark: Mister Ed: How Real Were TV s Escapist Comedies? Gerard Jones: Homesteaders of the New Frontier + Fantasyland + Cracks in the Pot

7 7 View before Class Feb 23: An episode of The Cosby Show (episode S1-E5 A Shirt Story ) View before Class Feb 23: An episode of Roseanne (any epis. from season 1-4, e.g Chicken Hearts ) 4. Guest lecture by Academic Director Helle Rytkønen Feb 22 How modern is Modern Family? How is female lust and homosexual NOTE! attractions portrayed in TV shows? With examples from contemporary Wednesday US and Scandinavian TV shows, we will explore to what extent TV shows 9:30-12:30 reflect, shape or challenge norms around race, gender and sexuality. Class viewing: Modern Family Joanne Griffith: The Cosby Show s Hidden Power Steven Stark: The Forgotten Promise of The Cosby Show David Hopkins: Article on Friends Modern Family Exercise 5. The 1970s Sit Com revolution Feb 23 Real people real issues /The Mary Tyler Moore Show, All in the Family, MASH Class viewing: All In the Family Steven D. Stark: All in the Family and the sitcom revolution Gerard Jones: Affirming the Worst Gerard Jones: Enduring the Worst The 1980s Father Knows Best - again Family Values dysfunctional families (Bill Cosby Al Bundy Homer Simpson) Steven D. Stark: How Roseanne Made trash tv respectable Gerard Jones: Believing Because We Want to Believe The 1990s Single, Urban, no kids, - maybe even gay Seinfeld, Ellen, Friends, Frazier, Will & Grace Class viewing: Ellen (The Puppy Episode) The 2000s Very Modern Families, - or not? Modern Family, Happily Divorced Steven D. Stark: A Tale of Two Sitcoms David Hopkins: Article on Friends Bob Lapham: Petition Against Ellen

8 8 Wikipedia: The Puppy Episode LONG TOUR 1 - February 25 March 3 3. Media critique / Television documentaries 6. Amusing Ourselves to Death? - A discussion of Neil Postman s view March 9 on show business and television s influence on politics and life Lit: Neil Postman: Amusing Ourselves to Death. Public Discourse in the Age of Business. Television documenting the real world / Drama Documentary Edward R. Murrow: Harvest of Shame (CBS TV, 1960) Ken Loach: Cathy Come Home (BBC TV, 1966) Lit: Cathy Come Home: Drama Documentary Cathy Come Home: Still Important Today + MIDTERM 4. Television Drama in Europe 7. Great Britain: March 16 Literary prestigious drama tradition: Jane Austen, Charles Dickens, Shakespeare, etc. British quality drama: Upstairs Downstairs, Brideshead Revisited, Downton Abbey House of Cards British quality crime shows: Sherlock, Inspector Morse, Prime Suspect, Luther The Fall, Broadchurch, Happy Valley, Line of Duty British Situation Comedies Til Death Do Us Part, Hancock s Half Hour, Fawlty Towers, Yes Prime Minister, The Young Ones, Absolutely Fabulous, The Office, Catastrophe, Fleabag Alistair Cooke: Intro to Upstairs-Downstairs Downton Abbey vs. Brideshead Revisited Prime Suspect (Wikipedia) Yes, Prime Minister David McQueen: The Development of British Situation Comedy

9 9 Michael Hogan: Catastrophe Willa Paskin: The Brutal Romantic. Sharon Hogan s comedy Catastrophe offers an unblinking look at coupledom. (The New Yorker) Stuart Heritage: Fleabag LONG TOUR 2 - March 18 March Top European Film directors embrace television March 30 Quality Television Drama Ingmar Bergman: Scenes from a Marriage (1973) Rainer Werner Fassbinder: Berlin Alexanderplatz (1980) Krzysztof Kieslowski: Dekalog (1988) Lars von Trier: The Kingdom/Riget (1994) Claude Lanzmann: Shoah Dennis Potter: The Singing Detective & Lipstick on your Collar Anne Jespersen: Television by Six European Film Directors (Overview) M. Dawson: Scenes from a Marriage (A). Dan Schneider: Scenes from a Marriage (B). Riget/The Kingdom texts NOTE: April 6 For this class you are to prepare a draft of your Research Paper. No Class Travel Break - April Recent Scandinavian Television Fiction April 19 The Killing/Forbrydelsen NOTE: Millennium trilogy (The Girl with the Dragon Tattoo, etc) Wed. 1-4 pm Borgen, The Bridge/Broen, Legacy/Arvingerne Class Viewing: Borgen. Anne Jespersen: Danish Television Drama (Overview) Lauren Collins: Danish Postmodern. (The New Yorker). Vicky Frost, The Killing, a slow-moving drama with subtitles Gary Day, TV review: The Killing II Gerard Gilbert, Nothing like a Dane: New Thriller Borgen Centres on a Trailblazing Female Politician Eva Novrup Redvall: Producing Television Drama in Denmark 5. The Second/Third Golden Age of American Television

10 Quality Television Drama: USA April 20 Case Study: Twin Peaks ( ) Class Viewing: Twin Peaks (pilot) Adam Karabel: Nightmare Aesthetics in David Lynch s Twin Peaks Andrew Anthony: Twin Peaks.. the Rebirth of TV Drama Sarah Hughes: Can the New Twin Peaks Keep Up? Anne Jespersen: Modernism and Postmodernism (Overview) 11. Modern American Television Drama April 27 Narrative structures in recent American television drama series Class Viewing: The Affair Episode 1 Jason Mittel: Narrative Complexity in Contemporary American Television 12. Drama in the 1990s and 2000s May 4 + CONCLUSION AND SUMMARY -- HBO/Cinemax: Sex and the City, The Sopranos, Six Feet Under, The Wire, Game of Thrones, The Newsroom, Veep, Girls,Boardwalk Empire, True Detective, Silicon Valley, The Knick, Westworld, Insecure --Showtime: Dexter, Californication, The L Word, Shameless, Nurse Jackie, Homeland, The Affair, Twin Peaks (2017) --AMC: Mad Men, Breaking Bad, Hell on Wheels, The Killing, Better Call Saul --Netflix: Lilyhammer, House of Cards, Orange Is the New Black, Bloodline, The Crown --Amazon: Bosch, Mozart in the Jungle, Transparent --Networks: The Good Wife (CBS), American Crime (ABC) Class Viewing: Breaking Bad - Episode 1 Allen St. John: Why Breaking Bad Is the Best Show Ever. Breaking Bad (The New Yorker) + TBA