Timothy Havens
- Published in print:
- 2013
- Published Online:
- March 2016
- ISBN:
- 9780814737200
- eISBN:
- 9780814759448
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9780814737200.003.0001
- Subject:
- Society and Culture, Media Studies
This introductory chapter looks at media globalization not as a restrictive or liberating force, but as productive of certain kinds of representational outcomes. In some ways, globalization has ...
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This introductory chapter looks at media globalization not as a restrictive or liberating force, but as productive of certain kinds of representational outcomes. In some ways, globalization has expanded the diversity of African American television, while in other ways it has restricted that diversity. Globalization has resulted in more diverse portrayals of African American men in terms of class, politics, and professions. For African American women, however, it has helped narrow the diversity of portrayals or eliminate them altogether, largely because African American characters are most frequently used to attract male demographics. The chapter also explains how the globalization of the media industries shapes the representational politics of African American television. Drawing on Michel Foucault's theory that power produces both social realities and forms of resistance, the chapter argues that media globalization is an exercise in corporate capitalist power.Less
This introductory chapter looks at media globalization not as a restrictive or liberating force, but as productive of certain kinds of representational outcomes. In some ways, globalization has expanded the diversity of African American television, while in other ways it has restricted that diversity. Globalization has resulted in more diverse portrayals of African American men in terms of class, politics, and professions. For African American women, however, it has helped narrow the diversity of portrayals or eliminate them altogether, largely because African American characters are most frequently used to attract male demographics. The chapter also explains how the globalization of the media industries shapes the representational politics of African American television. Drawing on Michel Foucault's theory that power produces both social realities and forms of resistance, the chapter argues that media globalization is an exercise in corporate capitalist power.
Timothy Havens
- Published in print:
- 2013
- Published Online:
- March 2016
- ISBN:
- 9780814737200
- eISBN:
- 9780814759448
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9780814737200.003.0006
- Subject:
- Society and Culture, Media Studies
This chapter focuses on the international circulation of the newer forms of African American television, particularly, how different network organizations and audience configurations create ...
More
This chapter focuses on the international circulation of the newer forms of African American television, particularly, how different network organizations and audience configurations create opportunities for new kinds of African American television flows. The priorities of premium cable channels, general entertainment broadcasters, and comedy channels abroad, combined with industry lore about “edgy” and “quality” programming, lead to a heavy reliance on black masculinity, heteronormativity, crime, violence, and frequent use of the word “nigger” in contemporary series. These similar aesthetic choices tend to dominate web-based television series as well, largely because online producers often strive to have their programs noticed by more traditional television outlets. The chapter looks at how series creators navigate these institutional expectations of what African American television should include in order to get their shows on air.Less
This chapter focuses on the international circulation of the newer forms of African American television, particularly, how different network organizations and audience configurations create opportunities for new kinds of African American television flows. The priorities of premium cable channels, general entertainment broadcasters, and comedy channels abroad, combined with industry lore about “edgy” and “quality” programming, lead to a heavy reliance on black masculinity, heteronormativity, crime, violence, and frequent use of the word “nigger” in contemporary series. These similar aesthetic choices tend to dominate web-based television series as well, largely because online producers often strive to have their programs noticed by more traditional television outlets. The chapter looks at how series creators navigate these institutional expectations of what African American television should include in order to get their shows on air.
Timothy Havens
- Published in print:
- 2013
- Published Online:
- March 2016
- ISBN:
- 9780814737200
- eISBN:
- 9780814759448
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9780814737200.003.0002
- Subject:
- Society and Culture, Media Studies
This chapter looks at the miniseries Roots (1977), which became a worldwide sensation. The show's portrayals of blackness, particularly black masculinity, draws on black nationalist and Black Power ...
More
This chapter looks at the miniseries Roots (1977), which became a worldwide sensation. The show's portrayals of blackness, particularly black masculinity, draws on black nationalist and Black Power discourses circulating in American society at the time. The chapter reviews how these discourses served differing institutional needs of American, Western European, and Eastern European broadcasters, as well as how other features of the miniseries helped and hindered its export potential. Because miniseries addressing white American history were the main beneficiaries of the international popularity of Roots, the miniseries genre did not become a vehicle for African American stories in the early eighties. Instead, African American characters were relegated to integrated situation comedies involving an otherwise white cast and white cultural surroundings.Less
This chapter looks at the miniseries Roots (1977), which became a worldwide sensation. The show's portrayals of blackness, particularly black masculinity, draws on black nationalist and Black Power discourses circulating in American society at the time. The chapter reviews how these discourses served differing institutional needs of American, Western European, and Eastern European broadcasters, as well as how other features of the miniseries helped and hindered its export potential. Because miniseries addressing white American history were the main beneficiaries of the international popularity of Roots, the miniseries genre did not become a vehicle for African American stories in the early eighties. Instead, African American characters were relegated to integrated situation comedies involving an otherwise white cast and white cultural surroundings.
Timothy Havens
- Published in print:
- 2013
- Published Online:
- March 2016
- ISBN:
- 9780814737200
- eISBN:
- 9780814759448
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9780814737200.003.0008
- Subject:
- Society and Culture, Media Studies
This concluding chapter explains how the discussions in African American television constitute highly institutionalized exchanges. The book argues that while these are not the most interesting or ...
More
This concluding chapter explains how the discussions in African American television constitute highly institutionalized exchanges. The book argues that while these are not the most interesting or important exchanges, they are distinct from the more idiosyncratic kinds of exchanges that less organized conversations give rise to. The chapter also talks about the aesthetic dimensions of African American television and how different kinds of institutional practices encourage different kinds of aesthetics. Since television's inception, its institutional formations encouraged the use of realist aesthetics. Ironically, today's global, digital, post-network era supports highly localized aesthetics of hyperrealism and travesty. Thus, the institutional labors of narrowcasters targeting transnational or subnational audience segments give rise to industry lore about viewers embarking on cultural journeys and seeking out cultural difference.Less
This concluding chapter explains how the discussions in African American television constitute highly institutionalized exchanges. The book argues that while these are not the most interesting or important exchanges, they are distinct from the more idiosyncratic kinds of exchanges that less organized conversations give rise to. The chapter also talks about the aesthetic dimensions of African American television and how different kinds of institutional practices encourage different kinds of aesthetics. Since television's inception, its institutional formations encouraged the use of realist aesthetics. Ironically, today's global, digital, post-network era supports highly localized aesthetics of hyperrealism and travesty. Thus, the institutional labors of narrowcasters targeting transnational or subnational audience segments give rise to industry lore about viewers embarking on cultural journeys and seeking out cultural difference.
Timothy Havens
- Published in print:
- 2013
- Published Online:
- March 2016
- ISBN:
- 9780814737200
- eISBN:
- 9780814759448
- Item type:
- book
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9780814737200.001.0001
- Subject:
- Society and Culture, Media Studies
This book explores the globalization of African American television and the way in which foreign markets, programming strategies, and viewer preferences have influenced portrayals of African ...
More
This book explores the globalization of African American television and the way in which foreign markets, programming strategies, and viewer preferences have influenced portrayals of African Americans on the small screen. Television executives have been notoriously slow to recognize the potential popularity of black characters and themes, both at home and abroad. As American television brokers increasingly seek revenues abroad, their assumptions about saleability and audience perceptions directly influence the global circulation of these programs, as well as their content. This book aims to reclaim the history of African American television circulation in an effort to correct and counteract this predominant industry lore. Based on interviews with television executives and programmers from around the world, as well as producers in the United States, the book traces the shift from an era when national television networks often blocked African American television from traveling abroad to the transnational, post-network era of today. While globalization has helped to expand diversity in African American television, particularly in regard to genre, it has also resulted in restrictions, such as in the limited portrayal of African American women in favor of attracting young male demographics across racial and national boundaries. The book underscores the importance of examining boardroom politics as part of racial discourse in the late modern era, when transnational cultural industries like television are the primary sources for dominant representations of blackness.Less
This book explores the globalization of African American television and the way in which foreign markets, programming strategies, and viewer preferences have influenced portrayals of African Americans on the small screen. Television executives have been notoriously slow to recognize the potential popularity of black characters and themes, both at home and abroad. As American television brokers increasingly seek revenues abroad, their assumptions about saleability and audience perceptions directly influence the global circulation of these programs, as well as their content. This book aims to reclaim the history of African American television circulation in an effort to correct and counteract this predominant industry lore. Based on interviews with television executives and programmers from around the world, as well as producers in the United States, the book traces the shift from an era when national television networks often blocked African American television from traveling abroad to the transnational, post-network era of today. While globalization has helped to expand diversity in African American television, particularly in regard to genre, it has also resulted in restrictions, such as in the limited portrayal of African American women in favor of attracting young male demographics across racial and national boundaries. The book underscores the importance of examining boardroom politics as part of racial discourse in the late modern era, when transnational cultural industries like television are the primary sources for dominant representations of blackness.
