Linda van Der Velden & Ram Chungh

Week 4: Readings

B. Velez, Diversity Report Card 2005 Y. Cole, Diversity Report Card 2007 Y. Cole, MTV Launches MTV Chi NHMC and APA Report Cards 2007 L.S. Kim, AZN Television: The Network for Asian America L.S. Kim, Race and Reality TV H. Gray, Politics of Representation on Network Television H. Gray, Television and the Politics of Difference B. Aubin, Do immigrants Need Rules?

The Multi-Ethnic Media Coalition are a combination of advocacy groups that gives grades to television networks based on the representation of actors of colour in several different categories from primetime shows to program developers.

Throughout all the networks American Indians are almost completely excluded

The NAACP, a component of the MEMC grades on the networks inclusion of blacks but there was no report on this

2007 National Latino Media Council "Report Card" on Television DiversityABC NBC FOX

CBS

Actors: On-air Primetime Scripted Shows A B B B+

Actors: On-air Primetime Reality Shows B A B B Writers and Producers: Primetime A B B+ C Directors: Primetime B A C C+ Program Development A B C+ A Procurement A B C B Entertainment Creative Executives C C C A Network Commitment to Diversity Initiativesand submission of Statistical Data A A B A

2007Television Shows/ Reasons

NLMC (Latinos): A- Ugly BettyAPAMC (Asians): C Grey’s AnatomyAIF (A. Indians): D Pushing Daisies

NLMC (Latinos):B Reality TVAPAMC (Asians): C+ ProcurementAIF (A. Indians):C- Law & Order

NLMC (Latinos):B+ CaneAPAMC (Asians): C Lack of Actors/Directors

AIF (A. Indians):D Pushing Daisies

NLMC (Latinos):B- Actors, Writers..APAMC (Asians): C+ 9 to 7 actorsAIF (A. Indians):F Pushing Daisies

http://www.sidereel.com/Ugly_Betty How are Latinos represented in this

show? What are specific stereotypes we see of

race in this show?

Increase in hiring Latinos Decrease in Asian-American and Native

American people hired American Indians are completely excluded

from most categories American Indians are invisible in primetime

television A larger number of Latinos are watching ABC

than any other network

Fair Report? – Some criticism

The reports and grade levels focus almost completely on quantity and a lot less on quality of representation

The report includes compliments to Grey’s Anatomy for creating opportunities for minority writers who are able to better depict minorities such as “Asian Americans, as quality, non-stereotypical characters”

Do minority writers mean less stereotypical depictions of other minorities?

Is Christina displayed stereotypically or does her character move past stereotypes?

Grey’s Anatomy Clip

Grey’s Anatomy Discussion/Critique

Are there any racial depictions that are appropriate?

What are some of the racial stereotypes we see?

MTV Chi: 24 hrs of U.S. – based hip-hop artists, shows from China, HK, and Taiwan, and caters to Chinese teens in U.S.

Gives access to Chinese pop culture and offers “a unique perspective of this rapidly growing part of the American population”

Goal: a return on investment http://www.youtube.com/watch?v=cMgiCta3z4s

Do you think that MTV Chi caters to Chinese Americans appropriately? Does MTV Chi promote diversity, or does it reinforce stereotypes?

Although the emergence of a Chinese American channel is a step towards the inclusion of a Chinese American audience on TV, MTV Chi’s price was yet to be determined. Do you think people should be charged extra for these types of channels? Does having to pay for them defy the goal of providing media outlets for diverse groups?

I would have liked to see more information regarding the actual programs that would be shown on the channel, and some more information from audiences as to their views on the potential success of the channel.

Yoji Cole: MTV Launches MTV Chi Cole discusses how MTV is launching channels for specific ethnic groups. It is interesting how MTV feels they need to launch ethnic based channels instead of representing minorities more on the regular MTV channel.

Broadcasts in several major U.S. markets “Asian American” = a floating signifier Diversity vs. Segregation Network directly appeals to Asian Americans and

their sense of belonging in America Why is an all-Asian network a positive venture?

Includes creative programming for “those in the know” (p.3) Carries a ‘self-reflection’ theme Programs created by Asian American individuals Filling the Asian American gap

Roots: Former I-Channel

Now targets young, rich, English-speaking Asian Americans

Potential Problems: Reminds Asian Americans of their foreign status Discursive struggles Unrelated advertisements

“Brautwurst and Wasabi”: Promotion of diversity

The article suggests that it is “too early to know how the network is doing and who is watching it” (p. 1); therefore, most of the article is speculative.

The article also acknowledges that the network targets “non-Asian viewers”; however, this seems to completely negate the whole purpose of the network.

The article does, however, articulate the negative attributes of a network that targets both American Asians and non-Asian Americans.

Kim (2) - In Race and Reality...TV, Kim explores the new genre of Reality TV, revealing that it contains "more characters of colour than any other genre of primetime program" (p.1). However, she argues that in Reality TV shows winners are chosen because of their compliance to certain unspoken rules, which have nothing to do with race and thus render it, in a certain way, invisible.

Is it represented as invisible? Kim In this article by Kim, she discusses the representation of

numerous races on television, specifically in reality television. Kim writes that there is a much higher representation of multiculturalism in reality television in comparison to other television programming. This article brought upon discussions between friends and I about America's Next Top Model, since there is always a conflict of whether or not Tyra Banks picks winners based on their race, or whether or not she purposely alternates different raced winners between seasons.

Race and Reality …TV – L.S. Kim (Summary)

The real prize reality television hands out is personal transformation

Reality TV is a genre which has more characters of race than any other genre, often with integrated casts

Contests are dramas and contestants are characters Producers transform and shape out perceptions about who

the individuals are on the show through editing, set up (strangers on a tropical island attempting to work together to find food while at the same time playing a mind game with their cast mates)

Winners decided subjectively (judges, audiences) versus objectively

http://www.youtube.com/watch?v=zAu3P-5KCLg&eurl=http://www.sidereel.com/America%27s_Next_Top_Model/_watchlinkviewer/256

Unspoken rules on the selection of the winner

1) Show of Gratitude A player who wants to win must show that they are

grateful for being put on the show and to be given the opportunity to reach their dreams, sometime pointing out exactly who they are grateful to ex) Producers, Trainers etc.

2) Sympathetic Back-Story A rags to riches story is more likely to help you win than

someone who doesn’t need the money or prize 3) Good Work Ethic

To be a winner it is important for the contestant to be a hard worker, even if the work is meaningless, audiences want to see contestants “exerting energy and emotion”

Ex) Survivor – work and starvehttp://www.youtube.com/watch?v=oa39hEIACnwFear Factor – work and eat horrible things

Race and Reality …TV – L.S. Kim (Summary)

Sitcoms such as Friends remain predominately segregated

Workplace dramas create opportunities for integrated casts

Police series often display negative stereotypes of minorities

Reality TV “can be contradictory in its racial politics. While being open and possibly innovative in negotiating racial discourse, there are still racial tropes that capitulate to the lowest common denominator” Ex) William Hung, Omarosa

Race and Reality …TV – L.S. Kim (Analysis)

Kim does a good job of creating thoughtful questions such as, whether there is a middle ground between accepting that a television show is flawed by stereotypes but at the same time enjoying it and appreciating the inclusion of different races. One Tree Hill

Thinking back to the reality TV shows I have watched Kim’s depictions of unspoken rules plays a large role in the selection of the winner or the portrayal of the winner. In the end, whether the winner is appreciative or not they will be displayed and edited to be displayed as appreciative.

Race and Reality …TV – L.S. Kim (Discussion)

Kim brings up the question as to whether “a viewer and television scholar can praise and critique a television program or genre simultaneously?”

She believes that they can, what do you think?

Are races in reality TV completely constructed or is there some representations of real depictions?

Examples?

Kim (2) - In Race and Reality...TV, Kim explores the new genre of Reality TV, revealing that it contains "more characters of colour than any other genre of primetime program" (p.1). However, she argues that in Reality TV shows winners are chosen because of their compliance to certain unspoken rules, which have nothing to do with race and thus render it, in a certain way, invisible. Is race in reality TV displayed as invisible? Is this the attempt that creators of reality

television are working towards, making race an insignificant factor of who wins?

Gray’s The Politics of Representation in Network Television

Gray explores the contemporary representations of black individuals on television, and how these representations have changed over time

Gray suggests that even when there are black representations on TV shows, they are not organized around black themes or “black cultural sensitivities” (p. 71)

White individuals control a significant number of TV shows that represent black individuals E.g.: The Jeffersons, Good Times, Amen and 227

Gray Cont’d.

Shows based on experiences of blacks still ultimately produce a specific point of view that privileges “white middle-class audiences” (p. 71)

National Commission on Working Women Report, 1989, explains, “minority producers constitute only 7% of all producers working on shows with minority characters” (Steenland, p. 71)

Cosby, Wayans, Hall, & Jones have tried to change the conventional TV representations of blackness (Hampton, 1989) as well as Winfrey, Morris & de Passe

Gray Cont’d

Although black individuals have more say in the representation of blacks on TV, they are still subject to criticism by other members of the black community E.g.: Wayans’ In Living Color was criticized for

making fun of black people http://www.youtube.com/watch?

v=Yn5pbHxvChU What do you think about this clip? Is it

acceptable for individuals to ridicule their own race? What effect does this have on other black people or on people who are not black?

The Historical and Discursive Formation of Television Treatments of Blackness

Gray argues that contemporary representations of blacks on TV is “shaped discursively by representations of race and ethnicity that began in the formative years of television” (Lipitz 1990b; Riggs 1991a; Spigel 1992; Winston 1982, p. 74)

In 1950s, TV shows such as Amos ‘n’ Andy, and The Jack Benny Show displayed blacks in stereotypical and subordinate roles where blacks were mostly cast as cooks, maids or criminals These stereotypes were used to reinforce the “legitimation

of a racial order built on racism and white supremacy” (p. 74)

By the end of the 1950s and beginning of 1960s, TV shows represented blacks in a less stereotypical way These shows, such as The Nat ‘King’ Cole Show, treated blackness

as a minor theme, and Cole was portrayed to be “universally appealing” (p. 76)

As a result of the social rebellions in the 1960s, blacks were represented in the 1970s in ways that directly responded to the social protests blacks had against the American society for the lack of representations of blacks.

In 1972, TV shows were created that displayed an “authentic” view of black individuals; however, these representations stemmed from a white liberal middle-class programmer’s view of poor, urban ghettos.

Displayed white middle-class values of family and happiness Designed to control outrage of black people

Roots, which told stories of black slavery, helped reposition views of blacks in contrast to white superiority; however, the social turmoil and racial subordination that blacks felt was eventually taken away as the focal point of the show.

Roots did open up a discursive space in mass media for the discourses of blackness

Gray Cont’d

The Cosby Moment

The Cosby Show – culturally significant because it enabled “the aesthetic constructions of black cultural style” (p. 79)

Within the show, issues of family and life within the home mediated blackness, and thus the show became universally appealing.

This mediation of blackness caused several criticisms of the show to emerge, and one of the major drawbacks of the show was “its unwillingness to build on the very diversity and complexity of black life” (p.81). I.E.: The Cosby Show didn’t display the economic or social

hardships black people were subjected to in real-life situations. The show idealized the middle-class This tension was further developed after The Cosby Show’s last

episode was aired at a similar time that news regarding the L.A. riots aired as well.

http://www.spike.com/player/?ifilmId=2676769

Discursive Practices and Contemporary Television Representations of Blackness

Gray suggests that contemporary representations of blackness on TV are anchored by three discursive practices, which are historically related to each other:

1. Assimilation and the Discourse of Invisibility Presents issues of blackness as individual problems Marginalize or elimination of social and cultural differences Erase the history of slavery, isolation and power inequalities Are framed through codes that promote colourblindness Suggest to others that “a culture deeply inflected and defined by

racism are invisible and inconsequential to the lives of its citizens” (p. 86)

E.g.: Family Ties, The Golden Girls, L.A. Law

2. Pluralist or Separate-but-Equal Discourses This discourse positions black characters in domestic roles and scenes that

parallel those of whites. Remain universally-accepted TV shows. Black characters experience the same conflicts as white characters, except that

they remain separate but equal. Recognize that race is a cultural difference. Cultural difference is celebrated but is done so in ways that reinforce the

dominant social, political, cultural economic positions and relationships. The representations of black people are done so from a hegemonic, ordered

angle to allow the balance of power to remain intact. E.g.: The Fresh Prince of Bel-Air, Family Matters

3. Multiculturalism/Diversity The use of black individuals as the center of its social and cultural universe Rarely chooses to display black individuals through a white viewpoint Causes viewers to participate in black experiences Represent questions of diversity The experience of “otherness” is often “recognized, commented on, and

critiqued” (p. 91) E.g.: Frank’s Place, Roc, In Living Color

Discursive Practices and Contemporary Television Representations of Blackness

Gray Analysis

Gray sufficiently analyzes the historical aspects of representations of blacks on TV

Gray also displays numerous aspects of the issues that are presented within the article, he does not simply take one stand on an argument

I also appreciate that Gray acknowledges that sometimes it is difficult to critique the shows we enjoy the most – which he admits when he discusses The Cosby Show

Gray’s article assesses the role of African Americans on TV and how it has been redefined over the decades. In general, he explains that African Americans have gained ground in being portrayed more accurately nowadays, instead of being tools for white amusement. Do you agree with Gray? Are there still examples of television shows that use blacks

to humour whites?

Television and the Politics of Difference – H.S. Gray

States that the “debate over diversity in American network television is...the expression of a much longer struggle over the production of a national imaginary and the role of commercial television in the construction of that imaginary” (p. 89)

This article follows: 1) The history of this struggle2) The cultural logic that structures the

debate3) The role of television as a major discursive

site for managing difference

The History of the Struggle 1950’s: the issue of difference was based mostly on

class, ethnicity and gender 1960’s: In terms of constructing a national imaginary

through television there was a problem of difference displayed in racial, class and ideological terms

1970s-1980’s: “race is the repressed that returned …rupturing the integrationist ideal of the homogeneous middle-class America constructed on network television” (p.103)

1990’s: television begins to display signifiers of difference

Ien Ang “argues that social theory (primarily functionalist sociology), communications theory (transmission models), and, to a lesser extent, semiotic theories that analyze cultural meaning have played significant roles in organizing how we think about the television system (including television audiences) in the production of this national imaginary” (p. 90)

The inability to see minority communities as other than political subjects displays a significant weakness of American (and Canadian?) society and television

In the early 21st century viewers are seen by network television as Cultural Subjects: the traditions, practices etc that

are created and recognized to exist within a specific cultural tradition and social location

Economic Subjects: consumers whose desires are registered in the marketplace which is organized by the television industry

Political Subjects: the ability of audiences to have their interests represented to the industry

Balkanization: trend occurring amongst viewers who are more likely to watch programs that are designed for them

This encourages decisions for industry programming to be targeted at white audiences

White audiences are the ideal subjects of consumerism whereas people of colour have to make appeals to be represented

Previously African American sitcoms were written in way that they crossed over to a mass audience (i.e. Fresh Prince of Bel-Air and Cosby Show), today they have a tone that is specifically targeted towards black people in other words excluding “white America”

The problem arises when white people are excluded from the target audience, who are the audiences that networks are not willing to give up since they are the ones advertisers want the most

Blacks, Latinos, and Asians are required by circumstances to act as political subjects, which means these communities are seen as political subjects

Television is a major medium which is able to produce the American National Identity

Television has always been the producer of some form of difference

Lynn Spigel: Gives insights by identifying the problem of race

and its management The white middle class became the subject of

family discourse on television in the 1950s

Management of Difference -Gray Cont.

The civil rights movement in the late 1960s challenged the national identity displayed through television

Minority communities ``demanded recognition, visibility, and inclusion in the national imagination ``p. 101

Previously, minority races were segregated from whites, white service members were receiving help through college scholarships and job training to ensure their social mobility

Through redlining practices blacks and Latinos were forced into a lifestyle including entry-level jobs and limited educational opportunities

It was during the time of the civil rights movement that these minority communities were made full political, legal, cultural subjects that could no longer be stereotyped through television

During the civil rights movement, industry networks realized their need to include minority groups in television, however their goal now became to include blacks without excluding whites

The Necessity of Difference- Gray Cont.

Brands have attempted to adopt names and logos which express difference in order to create consumer loyalty

By mid 1990s, television included outward signifiers of difference (gays, blacks, feminists etc.)

Television was able to deconstruct political common sense to a neo-conservatism that articulated the white male as the universal subject

There has been a transformation from the passive viewer in the 1950s to the active audience of today

Difference, Illegibility and Instability- Gray Cont.

Colour audiences seek out and follow programs they feel represent them i.e. black audiences watch black programming on Fox, Warner Brothers and UPN, representing an active audience which refuses to watch programming they do not like

Not all audiences are equally desired in commercial television because advertisers prefer some consumers tastes over others

Active audiences are viewers that networks will have to deal with more and more as they refuse to watch certain programs and are cynical about others.

Analysis Gray’s argument is valid in that networks will have

to deal with active audiences who refuse some programming while will be cynical and suspicious of others. The discussion of the civil rights movement as a time where colour people stepped up and made a statement about having enough of the exclusion displayed that although minority groups may be displayed on television the question of their representation still remains.

Overall, Gray’s article was difficult to read at times and Gray could have made his point quicker and in less writing since the article reiterated points several times.

Discussion

Comparing The Cosby Show with Girlfriends Girlfriends Clip -

http://www.sidereel.com/Girlfriends/ How many people of watch either one of

these shows? What are the differences in each of these

show that may explain how one was targeted towards a mass audience while the other to a specific audience?

Does this seem true?

Gray’s article was too wordy We agree!

Aubin’s Do immigrants need rules? The debate rages on

Herouxville – global controversy A document that “informed immigrants of what to expect if they

choose” to inhabit this town, and it also gave a list of “community standards” (p.1)

E.g.: A ban on allowing residents to mask or cover their faces on any day besides Halloween which directly offended Muslims

Document caused outrage and vandalism Herouxville also received support from the locals Bears question: Do we need rules for immigrants even though

Canada promotes multiculturalism? Yes: Immigrants should be informed of Canadian customs and

lifestyles Yes: Immigrants should be aware of the social and democratic

processes that exist within Canada

Aubin Cont’d.

Do we need rules for immigrants? No: Multiculturalism allows residents to express their

differences No: It’s impossible to set limits to, and “define what are

Canadian values and culture” (Elmasry, p. 4) Sparks questions of immigration

E.g.: The Netherlands, Norway, U.K. Assimilation: It doesn’t work

Stats Can: the number of low-income immigrant families continues to increase

Continued unemployment and underemployment Children of visible minorities still subject to discrimination

Aubin Cont’d.

Possible solutions: E.g.: Peel District School Board

Allows students to wear kirpans Enforces policies that support diverse cultures (Devali, Eid,

Hanukkah, Christmas) Children allowed to wear veils

Immigration into Canada is still strong: 250,000 people per year Religious beliefs and values shouldn’t be questioned

(Environics poll 2006) CBC poll: 80% of Canada’s Muslim community is “broadly

satisfied with their lives in this country” (p. 3)

Aubin Analysis

Aubin’s article provides arguments for both sides of the debate.

Aubin also provides an example of how the tolerance of other cultures can be promoted and encouraged.

I would have liked to see more information regarding the polls I.e.: How accurate they are, etc.

Do you think immigrants should be required to assimilate to the customs of the country they immigrate to? Or should immigrants be able to bring their own customs and traditions to those countries? To what extent?

How does the media play a role in the decisions that are made in Canada regarding the inclusion of traditions and customs of immigrants into Canada?

Aubin: I really enjoyed this article. It discussed whether Canadian immigrants, in a sense, should integrate or assimilate into Canadian culture. It listed extreme cases of cities which made it clear from the on-set that this is a new culture that immigrants must adapt to, or else they won’t survive in the community. Is it possible for immigrants to survive without assimilating

completely?

Is it better to be included and misrepresented or excluded completely?

Is inclusion and appropriate representation practical today?

Who decides what an appropriate representation is?

http://www.sidereel.com/Little_Mosque_on_the_Prairie/_watchlinkviewer/49