英国硕士传媒课程作业：电视谈话节目制作与流行音乐之比较

发布时间：2016-05-24 08:10

Introduction介绍

媒体研究长期以来是以关心如何表示和反映社会生活通过媒体从观众的角度是同等重要的,伦等人建议特别是在第二十世纪时应在“生产环境”（1996:169）和媒体的过程（Grossberg等人。2006:65），“市场”成为当时的新兴媒体行业背后的驱动力。因此对于我们理解如何和为什么媒体产品生产和塑造他们的方式是至关重要的。
为了更好地了解媒体生产,本文主要使用守门的概念、类型与情绪劳动研究是否在媒体生产过程操作同样或不同的跨媒体产业即电视业和音乐业尤其关注劳拉罗布的方法。
While media studies have been long concerned with how social life is represented and reflected through media from the perspective of audience (Curran et al. 1996:169), equal importance, as Curran et al. suggest, should be attached to ‘the context of production’ (1996:169) and the ‘processes of making media’ (Grossberg et al. 2006:65) especially after the twentieth century when ‘market’ became the driving force behind the then emerging media industries (Hesmondhalgh 2007:5). The resulting institutionalised organisation of producing cultural texts across different media industries and the associated ‘work practices’ utilised by ‘professionalised’ media workers (Louw 2001:37), thus, are vital for us to understand how and why media products are produced and shaped in the way they are. 

To gain a better insight of media production, this essay primarily uses the concepts of gatekeeping, genre and emotional labour to examine whether the ways in which media production processes are operated similarly or differently across two different media industries namely the television industry and the music industry by focusing in particular on Laura Grindstaff’s (2002) The Money Shot, which is a study of detailed processes of how the two daytime television talk shows Diana and Randy are produced enhanced by her experience as ‘production assistant and intern’ (2002:17) on the shows and interviews with a variety of producers and guests, and Keith Negus’s (1992) Producing Pop, which draws on similar research methods and can be seen as an account of how the music industry professionals organise a wide range of processes from artists’ discovery, music recording to the promotion of artists and their music.

Gatekeeping
Genre

Emotional Labour

Conclusion总结

Throughout the analysis, there are indeed a number of parallels between the production of daytime television talk shows and popular music in which the process of gatekeeping is the most significant. Specifically, both of the production is engaged in an initial selection process namely the selection of topics and guests by talk show producers and the search for artists by A & R staff of record companies. While talk show producers are heavily dependant on certain organisations relevant to the topics and ‘bureaucratically organised site’ (Grindstaff 2002:90) built for plugs to seek potential guests, artists are selected through A & R staff’s less rigidly formed ‘information networks’ (Negus 1992:47). However, in terms of decision-making, talk show producers seem to have more power in finalising the topics and guestswhereas A & R staff’s decisions tend to be increasingly influenced by the opinions of marketing personnel (Negus 1992:49-50).


Nonetheless, both the producers and A & R staff act as gatekeepers throughout the two production processes. Despite having more power in determining the topics and guests, talks show producers are relatively more constrained by the particular genres that they produce under. However, in a broad sense, the culture texts produced by both the television industry in which talk show producers operate and the music industry can be organised according to genre, which although may have negative effect on the creativity of talk show producers and the autonomy of artists and A & R staff, ultimately allows simplification of some aspects of the work involved in producing the media products by the presence of certain fixed rules and thus accordingly reduces the economic risks associated with the production.


Alongside genre that is used in both production processes in a similar way, emotional labour is another key element characterising the production of talk shows and popular music. Talk show producers use various means to emotionally ‘prepare’ (Grindstaff 2002:119) guests for the ‘money shot’, which can be paralleled to when A & R staff employ emotion to elicit ‘talent’ (Negus 1992:81). Although the involvement of emotional labour in the production of music is not as extensive as that in talk shows, the ability to deal with ‘personal relations’ within the industry which are also associated with emotional labour is more important to the production of music that highly features ‘collaboration’ (Negus 1992:141).


Indeed, there are a number of similarities that can be found between the production processes of television talk shows and popular music, which might also be shared in other media industries. But the distinctive nature and dissimilar working practices inherent in different media industries inevitably lead certain aspects of media production processes to vary from each other across industries.
















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