-How do certain social networking accompaniments (for example the Internet and smart phone apps) to television utilise and yet transform discourses of liveness?
-Discuss how changes in the US/UK television ecologies can be argued to have opened up spaces for a more feminised form of factual and/or fictional content.
-Are the kinds of factual and fictional entertainment covered in this module more concerned with intervening in and transforming reality than representing it?
-Taking no more than two examples of television personalities, assess their value, through close textual analysis, in terms of audience engagement and issues of branding to the broadcasters on whose channels and in whose programming they appear.
-In how far does social media facilitate televisuol forms of fame production or challenge them? -Discuss, drawing on particular examples to illustrate your argument.
Some have argued that post-broadcast television {both factual and fictional) tends to address us more as consumers than socially inscribed citizens. Using your own examples, analyse this shift in
terms of how narratives of self are treated.
-How does television engage with or contribute to a culture of emotionalism and performances of affect? Make your argument in relation to either reality TV or serial drama examples.
-The anti-heroine in US serial drama is the outcome of a combination of nea-liberal television economics and post-feminist politics.
Discuss, drawing in detail on two case study examples
-Liveness is a much valued quality of much of television’s output. Critically unpack some of the features of this concept and argue why liveness perhaps promises mare presence than it delivers.
-With reference to a number of programme examples, show how fictional and factual television naturalizes a certain version of the family.

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