The field of television studies has undergone significant changes in recent years because of technological innovations that have dramatically altered the very concept of television reception. The shift from ‘broadcasting’, through the introduction of niche targeting, to ‘narrowcasting’ has quickly led, thanks to the multiplication of platforms through which television has now become available, to the era of ‘me-casting’. As viewers increasingly turn to Digital Video Recorders and online platforms (Netflix, Hulu, Amazon Prime), replacing their TV set with a laptop, a tablet, a game console, or a mobile phone, television schedules have virtually become obsolete structures imposed on viewers who have learned to bypass them through the flexibility offered by new forms of media consumption. Once merely considered a ‘flow’ (as Raymond Williams’ famously noted) as television’s continuous output existed without and in absence of the viewer, television has now become a virtual ‘quilt’ whose programming blocks can be extracted and time-shifted indefinitely, so as to be enjoyed by viewers at their own leisure, on a number of varied viewing platforms. Such an epochal shift in broadcasting and consumption should indeed be mirrored by a shift in the reconception of the very methods of television studies, which once identified in the ‘flow’ a core element against which all analyses of television were to be structured, foregrounding the centrality of institutional discourse and conditions of production in all viable critical readings. The era of ‘me-casting’ has shifted the critic’s attention from the producer to the product, from the time of broadcasting to that of consumption, from the flow to the actual programme. One of the most indirect consequences of this shift, in the academic field of television studies, has been a gradual widening of the objects of analysis, which were once almost always strictly limited to the broadcasting practices of the country in which the analyst resided. The sole exception to this rule was, of course, US television because of its unique global distribution. In the days of ‘me-casting’, however, television studies finds no methodological resistance in the analysis of programmes and broadcasting practices ex-loco and adopts textual approaches akin to those common in film studies. Although rigorous analyses of television programmes will always need to take into proper consideration questions of production and institutional discourse, the increased broadcasting of so-called ‘quality television’ paired with the diverse modes of its reception justifies critical approaches long associated with film studies. The work of showrunners such as Aaron Sorkin (The West Wing, The Newsroom), Alan Ball (Six Feet Under, True Blood), David Chase (Northern Exposure, The Sopranos), or Shonda Rhimes The Italianist, 34. 2, 260–262, June 2014
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