Book Review: Biographical Television Drama

IF 0.9 2区 艺术学 0 FILM, RADIO, TELEVISION
Rob Watts
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Abstract

author’s own original arguments. Moreover, questions remain regarding the method used for selecting specific vids within the study. In the Conclusion, Stevens argues ‘I chose to use examples that resonate as exemplars based on my long experience in fandom’ (p. 222). However, the subcultural histories motivating inclusion, and the researcher’s embedded identity within these, are not reflected on in, for instance, an autoethnographic manner. This absence led me to question why individual vids had been chosen. For example, Chapter 6 focuses solely on three vids dedicated to the character of Starbuck in the mid-00s Battlestar Galactica, (2004-09), and I was left wondering why this trilogy had been chosen: were they exemplary of historical themes, styles, or aesthetics in vidding? How representative of vidding were these? The lack of reflexivity afforded to the sample is problematic as it raises questions concerning both representativeness and rigour and undermines confidence in how generalizable the arguments are. These are questions that, beyond this individual study, fan studies must continue to defend itself against if it is to gain legitimacy in the face of dismissals of the field as being methodologically based in ‘personal preference’ rather than objectively verifiable criteria.
书评:传记电视剧
作者自己的原创论点。此外,关于在研究中选择特定视频的方法仍然存在问题。在结语中,Stevens认为“基于我在粉丝圈的长期经验,我选择了能够引起共鸣的例子作为范例”(第222页)。然而,激发包容的亚文化历史,以及研究者在其中嵌入的身份,并没有以一种自我民族志的方式反映出来。这种缺席让我质疑为什么要选择个别的视频。例如,第6章只关注2005年中期《太空堡垒卡拉狄加》(Battlestar Galactica, 2004-09)中星巴克(starbucks)角色的三个视频,我想知道为什么选择了这三部曲:它们是视频中历史主题、风格或美学的典范吗?这些视频的代表性如何?样本缺乏反身性是有问题的,因为它提出了关于代表性和严谨性的问题,并破坏了对论点可归纳性的信心。这些都是问题,除了这个单独的研究,如果要在面对该领域的方法论基于“个人偏好”而不是客观可验证的标准的驳回时获得合法性,粉丝研究必须继续为自己辩护。
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来源期刊
Critical Studies in Television
Critical Studies in Television FILM, RADIO, TELEVISION-
CiteScore
2.10
自引率
30.00%
发文量
70
期刊介绍: Critical Studies in Television publishes articles that draw together divergent disciplines and different ways of thinking, to promote and advance television as a distinct academic discipline. It welcomes contributions on any aspect of television—production studies and institutional histories, audience and reception studies, theoretical approaches, conceptual paradigms and pedagogical questions. It continues to invite analyses of the compositional principles and aesthetics of texts, as well as contextual matters relating to both contemporary and past productions. CST also features book reviews, dossiers and debates. The journal is scholarly but accessible, dedicated to generating new knowledge and fostering a dynamic intellectual platform for television studies.
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