Usapang TVo may saysay ba ang pagiging

couch kamote?

Mga pinagdidiskitahan:

• Usapin ng estetika at kulturang popular--gamit at pagbibigay aliw

• Sinong tumatangkilik—at ano ang kanilang k?

Katangian

Porma• Disenyo at teknolohiya—usapan ng palakihan,

palakasan, at pagaraan• Transpormasyon ng materyal na datos sa imahen;

light and visuality• Lunan ng panonood-domesticity/collectivity—

okasyon ng pagbubuklod• Nagbabagong anyo o dinamismo dala ng

teknolohiya at pag-taas ng ekspektasyon ng manonood—ang live at virtual audience—interactivity; pag-angkla sa “realidad” o pantasya

KatangianNilalaman• Tanggap na pagambala ng komersyo gawa

ng mga patalastas• Visual scale/surface na pinanonooran• Kumbensyon/formula-istilo ng pagganap na

namana mula sa radyo, dulaan, pelikula• Taning—ang 30-60 minutong palabas• Intimacy-voyeurism/pag-usyoso-tamis ng

paglimot o panandaliang pag-ibsan ng hirap

Close-circuit/Pagniniig

• Paggamit ng close-up, pagtutok sa pribado o maliliit na espasyo

• Kahalagahan ng diyalogo, pag-uungkat ng sikolohiya ng karakter, personal imbis na epiko o grandyosong enkwentro

• Televisual: motion in depth vs. excessive horizontal movement; pagkasangkapan sa ordinaryo kaysa sa magarbo

What television delivers is not programs but a semiotic experience. This experience is

characterized by its openness and polysemy. Television is not quite a do-it-yourself meaning kit but neither is it a box of ready-made meanings for

sale.John Fiske, Moments of Television

Polysemy (or multiplicity of meaning) is absolutely central to television’s textualityThe text/cultural commodity is a site of struggle for the power to make meaningsTV audiences are socially diverse and therefore capable of producing different socially pertinent meanings from the same commodityThis production of meaning is pleasurable

what determines the meanings & pleasures provoked by a text is the social situation of the viewer-reader, not the interests of the producers & their ideological investment in con- sumer capitalism

TV as ‘producerly text’—offers spaces within w/c the viewer can use her or his already developed competencies

segmentation/syntagmatic gapsintertextuality (vis primary/secondary texts/oral culture)time & seriality(nowness/liveness)heteroglossia(many languaged-ness)

TV as Polysemic Medium: Textual and Intertextual Characteristics

Many see the news show Wazzup Wazzup as an innovative take on news reporting and presentation. Upon closer inspection, however, its coverage proves insipid and asinine. Evasive content is taken up under the umbrella of ‘alternative’ and embellished with absurdist questions and

fashioned lingo. In the end, all it amounts to is so much talk about traffic, sports, and the weather. As sociologist Pierre Bourdieu says in his book On Television, ‘People

talk so much about the weather in day-to-day life because it’s a subject that cannot cause trouble.’

Antares Gomez, “Boobs and the Boob Tube”, Oblation, August 2006

Sanggunian

• DiTomasso, Tanya. “The Aesthetics of Television”, Crossings: eJournal of Art and Technology, Volume 3, Issue 1, accessed January 15, 2006

• “Television Aesthetics”, The Television Encyclopedia, Horace Newcomb, Ed., Taylor and Francis, 2004