By Steven Peacock, Jason Jacobs
Although movie reports has effectively (re)turned recognition to issues of fashion and interpretation, its sibling self-discipline has left the territory uncharted - beforehand. The query of ways tv operates on a stylistic point has been severely underexplored, regardless of being basic to our viewing adventure. this crucial new paintings redresses an essential hole in tv stories via attractive with the stylistic dynamics of television; exploring the cultured homes and values of either the medium and specific sorts of output (specific programmes); and elevating very important questions on the best way we pass judgement on tv as either cultural artifact and paintings shape.
Television Aesthetics and Style presents a distinct and very important intervention within the box, elevating key questions on television's inventive homes and percentages. via a chain of case-studies by means of across the world well known students, the gathering takes an intensive leap forward in knowing TV's stylistic achievements.
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Additional resources for Television Aesthetics and Style
Collingwood, The Principles of Art, 11. 22 Collingwood, The Principles of Art, 32. 23 Collingwood makes many more distinctions that fall outside the remit of this essay, but that are of potential interest to television scholars. For example, he argues that the artist creating true art is primarily concerned with expressing emotion to himself, rather than arousing emotions in an audience. Thus art proper is (a) expressive and ( b) imaginative, and it is concerned with individuals’ engagement, not groups’.
The caution with which Mittell approaches the necessity of evaluation in tension with the dangers of elitist assertions of value that is not grounded in the work itself, is characteristically expansive, detailed and anchored to a subtle comparison of the realist modes See, for example, Charlotte Brunsdon, ‘Problems with Quality’, Screen 31:1 (Spring 1990), 67–90; John Caughie, Television Drama: Realism, Modernism and British Culture (Oxford University Press, 2000); David Thorburn, ‘Television as an Aesthetic Medium’, Critical Studies in Communication 4 (1987), 161–73; Horace Newcomb, ‘Toward a Television Aesthetic’, in Television: The Critical View, ed.
In Joseph Margolis, ed. Philosophy Looks at the Arts: Contemporary Readings in Aesthetics (New York: Charles Scribner’s Sons, 1962), 15. Urmson goes on to show that the aesthetic is not found, either, in any emotion felt or caused in the onlooker. 29 30 32 TELEVISION AESTHETICS AND STYLE necessary nor sufficient to create an aesthetic situation. Perhaps therefore it is more helpful to look to the observer and consider the notion of his/her aesthetic ‘experience’ or ‘attitude’. The aesthetic experience John Hospers asks, ‘What is it to perceive something aesthetically?