Arthur Asa Berger Television Genres Encyclopedia Article 1

Television Genres

Television is an electronic medium that broadcasts many different

kinds of programs, each of which can be classified as belong to a genre or, in

some cases, mixed genres. The term “genre” comes from the French

language and means “type” or “kind.” Douglas Kellner, a media theorist,

offers a useful definition of “genre.” He writes, is his essay “Television

Images, Codes and Messages,” that

a genre refers to as coded set of formulas and conventions which

indicate a culturally accepted way or organizing material into distinct

patterns. Once established, genres dictate the basic conditions of a

cultural production and reception. For example, crime dramas

invariable have a violent crime, a search for its perpetrators, and often

a chase, fight, or bloody elimination of the criminal, communicating

the message “crime does not pay.”

When we watch television we do not actually watch the medium of television,

per se, but specific television programs—or, to use the term popular in

academic circles, texts. All media are based on texts, which all fall into
Arthur Asa Berger Television Genres Encyclopedia Article 2

various categories or genres. The scholarly interest in genres has developed

in recent years because we have become concerned about how genres affect

the creation of television programs, what the social, cultural and political

implications of different genres may be, how genres begin and evolve and

why some genres, such as the western, died out after years of great popularity.

We can say that genre studies started with the writings of Aristotle

(384-322) who began his De Poetica (Poetics) with comments relating to

genres:

Our subject being epic poetry, I propose to speak not only of the art in

general but also of its species and their respective capacities…Epic

poetry and Tragedy, as also Comedy…are all view as a whole, modes

of imitation…Comedy is an imitation of men worse than average.

Tragedy, on the other hand, involves the fall of a great person and is

“essentially an imitation not of persons but of action and life, of happiness

and misery.” Aristotle’s rules for tragedies and comedies dominated the

thinking of people for many centuries.

There is a philosophical problem relating to genres, which is dealt

with in a book, Tim Bywater and Thomas Sobschak’s An Introduction to Film

Criticism: Major Critical Approaches to Narrative Film, that is relevant to

our interest in television genres. And that is, how do we “discover” genres.

As the authors write (1989: 90):

essentially the problem is the question of which came first, the

chicken or the egg. One has to select a group of films prior to

identifying them as a genre; however, the very selection process is

shaped by a definition of the genre supposedly not y et arrived at.

What makes a critic talk about musicals as a group is some prior

notion of what a musical is.

They point out that we identify genres by looking for similarities in texts

relating to common themes, subject matter, settings, characters, conventions,

plots, and important material objects (such as the white cowboy hat in

westerns for good cowboys).

Television genres refer to a class of television programs and a given

program is an example of that genre. The question is—do classes of anything

exist? Or what is the status of a “class” of things? This question is an old one

in philosophical thought and involves a debate between some thinkers who

argue that only particular things exist, such as the show 60 Minutes, while

others argue that the class of shows called news programs is as real as any

particular show. In philosophical parlance, nominalists deny the reality of

classes of things while realists accept their reality. For our purposes, since we

are dealing with a class of television programs called genres, we must accept

the realist perspective. With few exceptions, the material found in literature

and the popular arts is an example of some genre or mixed genre. We do not

conventionally use genre to deal with serious novels but, rather, with popular

arts found in the media.

In dealing with a mass medium such as television, keeping in mind

Kellner’s definition of a genre, there are a number of focal points to be

considered: the text itself, the creators and producers of the text, the

particular qualities of the medium which affects what can be done with it, and

target audience of the text, and the society in which the text is produced and

which influences the kind of texts that can be created.

Art work or text CSI

Artist The writers and performers on the show

Medium Television

Audience Viewers of the show

America Country where show is produced

Each of these focal points can be connected to one another since they all

influence a given text, which is always a kind of program or genre.

The creators of television shows generally focus on a particular

audience and adapt the conventions of a genre to their purposes. When a

particular television show becomes popular, other television production

companies start imitating it, hoping to cash in on the popularity of the genre.

In some cases, television companies mix genres or create variations of

traditional genres, such as the reality show Survivor which generated many

imitations.

One thing we must recognize is that television is essentially a

dramatic medium. As Martin Esslin writes in The Age of Television

(1982:6,7):

the language of television is none other than that of drama: that

television—as indeed the cinema with which it has much in common

—is, in its essence, a dramatic medium; and that looking at TV from

the point of view and with the analytic tools of dramatic criticism and

theory might contribute to a better understanding of its nature and

many aspects of its psychological, social, and cultural impact, both in

the short term and on a long term, macroscopic time scale.

As Esslin points out, in a typical week the average viewer in America sees the

equivalent of five or six stage plays a week. His figure might underestimate
Arthur Asa Berger Television Genres Encyclopedia Article 5

the amount of drama seen on television since he wrote his book in 1982. By

dramas Esslin means narrative fictions that generally involve conflict and the

resolution of this conflict, often involving violence.

There is, one might suggest, a dramatic quality to other television

genres that are not generally classified as dramas—texts such as new shows,

sports broadcasts of football, baseball, and basketball, and other non-fiction

television shows. There are also a large number of mixed genre television

shows that have been developed, such as the docudrama and so-called reality

television shows such as Survivor.

It is difficult, in many cases, to place a particular show in a category,

since some of them could fit in several genres. Nevertheless, it is reasonable

to assign many shows to a particular television genre. Some of the more

important formulaic broadcast television genres, and programs that can be

placed in each genre, are:

Commercials. The television commercial is the most important genre found

on television in the United States since our system of paying for television is

based on money made by stations broadcasting commercials and, in effect,

selling their audiences to corporations. The Macintosh “1984” commercial

by Ridley Scott is one of the most celebrated television commercials.

News shows. Television broadcasts many hours of local news and usually a

half hour of national network news, plus weekly news programs such as 60

Minutes, 20/20 and Sunday news interview shows such as Meet the Press.

News was originally seen as a public service but in recent years has become

an important source of revenue for television stations and networks.

Documentaries are an important category of news programs and deal with

political, social, cultural, economic and other topics of interest. The number

of documentaries on commercial television stations has dropped considerably

over the years, but there are still a number of documentaries found on public

television and occasionally on the networks.

Situation Comedies. It is very difficult to create a good situation comedy, but

television networks keep bringing new ones out every year since the payoff

from a good situation comedy, in audience size, is considerable. Among the

most important situation comedies of recent years are Seinfeld, Frazier, and

Friends, each of which has gone into syndication and made enormous

amounts of money for the creators and producers. Most situation comedies

don’t last very long and many are taken off the air after only a few weeks.

Sports Broadcasts. This genre broadcasts contests involving sports such as

baseball, basketball, football, tennis, track, golf, and car racing. Sports have a

dramatic quality to them because in many cases we cannot know what the

outcome of the contest will be until the contest is over. Many games are

decided in the final seconds of the game. Sports programs are one way that

advertisers can reach male viewers, aged 18 to 45, who are important target

audiences for products like beer, automobiles and sports equipment.

Crime Shows. These shows deal with the battle between the police and

criminals of one kind or another and are generally extremely violent. Some

of the more popular crime shows of recent years are Crime Scene

Investigation, CSI Miami,and Cold Case. There is an important category of

crime show which might be called the classical detective show, which

involves crime but generally is not violent and uses a detective who solves the

mystery by exhibiting superior powers of observation and intellect.

Soap Operas. This genre produces programs that can last for decades. It is

characterized by incredibly and never-ending complicated love relationships

and family problems, generally with physically attractive romantic leads.

Some soaps have young protagonists, such as The O.C (for Orange County),

whose target audience seems to be adolescents, while others, like Desperate

Housewives, focus on older audiences. Some programs, such as Grey’s

Anatomy, do not present themselves as soaps but are considered to be a soap

opera by many critics.

Game Shows. These shows involve having participants guess the price of

some object or answer questions on some subject, with those who are

successful having the chance to win prizes and sometimes large sums of

money. These programs are cheap to produce and attract good size audiences

and, in some cases, huge audiences.

Children’s Programs. These programs are designed specifically to entertain

young children and often contain material that entertains and educates them.

Some children’s programs feature cartoons that are humorous but full of

violence, leading many psychologists to urge parents to curtail viewing of this

material. Some of the more important children’s shows typically shown in the

United States are Sesame Street, Barney,and a British import, The Teletubbies

.
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Religious Programs. These programs deal with religious themes and feature

various television evangelists and other figures who talk about the Bible and

other religious texts and various topics relating to religion. Some of these

shows are broadcasts of religious services.

Talk Shows. There are many shows, such as Dr. Phil, that involve an expert in

some area, which are basically full of talk—by troubled individuals and

families, who are given advice by Dr. Phil. An important subcategory of these

shows are the late-night comedy talk shows, hosted by comedians such as

David Letterman, who interview show business celebrities.

Reality Shows. These shows represent a new genre and in recent years have

become very popular. They are relatively inexpensive to produce since they

are not scripted. But they are highly edited and so aren’t as “real” as many

viewers think. They combine a number of different other genres and have

elements in them of contest shows, travel shows, Bay Watch-like girlie shows

and action-adventure shows.

Science and Education shows. These shows have an educational content to

them and find ways of instructing viewers and entertaining them at the same

time. Nova, which is broadcast on public television, is an example of a

science show that also has dramatic qualities to it.

Cooking Shows. In San Francisco, on the public television station KQED,

there are cooking shows from 9:00 AM until 2:30 PM on Saturdays. There

are also cooking shows on other stations at various times. In these shows
Arthur Asa Berger Television Genres Encyclopedia Article 9

chefs (many of whom have become celebrities) teach viewers how to make

various dishes from a number of different cuisines.

Action-Adventure Shows. This category covers a wide range of dramas, some

of which have elements of horror in them, others have supernatural elements

in them, and others which are stories about people who face problems and

find ways of dealing with them. In the fall 2006 season, programs with a

supernatural aspect, such as Lost, Heroes and Jericho were popular, but the

rate at which shows are taken off the air, when audiences stop watching them

in the desired numbers, means that they may not be around for very long.

It is impossible to deal with all the different genres and subgenres

shown on television. To further complicate matters, many movies—

representing different genres—are shown on television every day, so at any

given moment, there are a number of different genres of television programs

competing with one another for viewers.

When people say “I think I’ll watch some television,” they mean they

will watch some kind of program they like, such as a sports broadcast, a crime

show, or news show. When writers and producers create television programs,

they always have some genre, or combination of genres, in mind, which has

certain conventions they will follow. These conventions make it easier for

them to create new texts, since there are formulas they can follow, and for

viewers to understand what is going on in the texts they create.

Bibliography
Arthur Asa Berger Television Genres Encyclopedia Article 10

Berger, Arthur Asa. 1975.

The TV-Guided American.

New York: Walker.

Berger, Arthur Asa. 1992.

Popular Culture Genres.

Thousand Oaks, CA: Sage.

Tim Bywater, Tim and Thomas Sobschak.

An Introduction to Film Criticism: Major Critical Approaches to Narrative

Film.

Kellner, Douglas.

“Television Images, Codes and Messages”