Page 270 - A Handbook Genre Studies in Mass Media

INDEX

National Geographic Channel, 21–22 Point of view, 148–150, 190
NBC lawsuit, 206 Police drama genre, 109, 179. See also
Needham, Col, 223 specific title
Nelson, Jeff, 110 Political events, 123–124
New Line Cinema, 17 Political ideology, 136–139, 143–144
Newlyweds, The, 163–164 Political persuasion genre, 150–152
Newman, Gary, 54, 199–200 Pooley, John, 183
News media, American television, 7, Popularization/popular stage, 32, 208–209
70–71, 146, 198 Population Communications International
New York Post (newspaper), 153–154 (PCI), 8
Nickelodeon, 141, 212 Powell, Neil, 205
Night talk show genre, 32–33. See also Power, 167–168
specific title Premise
Nolan, Christopher, 178 defining, 33
Nussenbaum, Evelyn, 202 in formulaic analysis, 28, 33–35
NYPD Blue, 154 franchise, 56
historical context and, 77–78
O.C., 219–220 ideological context and, 154–156
O’Connell, Charlie, 167 mythic context and, 220–224
Oh Baby, 214 subgenre, 34–35
Olafson, Peter, 219 Preoccupation, cultural
One Life to Live, 45 appearance, 108–109
Oprah Winfrey Show, 48 celebrities, 109
O’Reilly, Bill, 144 crime, 109–110, 113–116
Osborn, Norman, 158 defining, 107–108
Osbournes, The, 120, 163–164 sex, 108
Otto, Michael, 11 Prequels, 211
Over There, 73 Prey (Crichton), 75
Oxygen cable network, 35 Price Is Right, The, 159, 213–214
Process of analysis. See also Function
Parody, 144–146 audience considerations, 22–26
Passions, 45 comparative media approach, 16–22
Pennington, Gail, 202, 210 lines of inquiry, 26–27
Perp walk, 179 Procter & Gamble, 213
Perry, Bob, 22 Product integration, 6
Perry Mason, 38–40 Production elements
Persuasion function, 8–9, 150–152 affective responses and, 169
Peterson, Clifford, 75 audio manipulations and, 185, 187
Pew Research Center, 146 camera positions, 172, 179–180
Phelps, Jill Farren, 17 defining, 169
Philadelphia Story, The, 115 genre analysis, 181–194
Pimp My Ride, 166 genre and, 172
Pirates of the Caribbean films, 211 lines of inquiry, 180–181
Pirro, Jeanine F., 153–154 overview, 169–172
Pleasure principle, 12 reality genre and, 171–172, 181–194
Plot “soliloquy” camera confessionals and,
conflict in, 41–43, 42 184, 184, 187
conventions, 47–48 values
cultural context and, 123 angle, 179–180
in formulaic analysis, 28, 30, 40–48, 42 color, 174–175, 191–192
historical context and, 78–79 editing, 173–174, 186, 187, 193
ideological context and, 157 lighting, 175–177, 190–191
of soap operas, 43–46 movement, 178–179
subplots and, 46–48 music, 180, 185, 187, 192
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