“‘We Hope They Forget COVID Exists’: Pandemic Dissonance in HGTV’s Evergreen Escapism”

IF 2.4 2区 文学 Q1 COMMUNICATION
Myles McNutt
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引用次数: 0

Abstract

This article analyzes American cable channel HGTV’s programing strategies in response to the COVID-19 pandemic, and specifically their construction of a “COVID-free” fantasia in their series Home Town and its spinoff, Home Town Takeover. By considering this response through the lens of dissonance, I argue that while the network originally emphasized their social responsibility to mitigating the spread of the virus, their business model incentivized them to move past the virus more swiftly than other channels, pushing the labor of mediating dissonance onto their on-screen talent and their audience. This case study foregrounds how variables like genre, channel, and audience shaped the television industry’s response to the pandemic, with HGTV’s business model built on “evergreen” reality programing leading them to abdicate principles of social responsibility both more quickly and more thoroughly, despite numerous options that would have addressed the dissonance of COVID in a more balanced fashion.
"'我们希望他们忘记 COVID 的存在':HGTV 常青逃生节目中的大流行失调"
本文分析了美国有线电视频道 HGTV 应对 COVID-19 大流行的节目策略,特别是他们在《Home Town》系列及其衍生节目《Home Town Takeover》中构建的 "无 COVID "幻想世界。通过从 "不和谐 "的视角来考虑这种应对措施,我认为,虽然该电视网最初强调他们对减少病毒传播的社会责任,但他们的商业模式激励他们比其他渠道更快地摆脱病毒的影响,将调解不和谐的工作推给了他们的屏幕人才和观众。本案例研究揭示了类型、频道和受众等变量是如何影响电视业对大流行病的反应的,HGTV 建立在 "常青 "真人秀节目基础上的商业模式导致他们更快、更彻底地放弃了社会责任原则,尽管有许多选择可以更平衡地解决 COVID 的不和谐问题。
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来源期刊
CiteScore
5.60
自引率
5.00%
发文量
49
期刊介绍: Television & New Media explores the field of television studies, focusing on audience ethnography, public policy, political economy, cultural history, and textual analysis. Special topics covered include digitalization, active audiences, cable and satellite issues, pedagogy, interdisciplinary matters, and globalization, as well as race, gender, and class issues.
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