TFM-430: History of Television

Spring 2026
Schedule Number: 8313

COURSE DESCRIPTION

Critical survey of television history, from its origins in radio and film, to its contemporary convergence with digital media and the internet. Topics include regulation, media ownership, technology, aesthetics, genre, authorship, advertising, and audiences, with a focus on sociocultural issues.

LAND ACKNOWLEDGMENT

For millennia, the Kumeyaay people have been a part of this land. This land has nourished, healed, protected and embraced them for many generations in a relationship of balance and harmony. As members of the San Diego State University community, we acknowledge this legacy. We promote this balance and harmony. We find inspiration from this land, the land of the Kumeyaay.

ESSENTIAL STUDENT INFORMATION

For essential information about student academic success, please see the SDSU Student Academic Success Handbook.

SDSU provides disability-related accommodations via the Student Disability Services (sds@sdsu.edu | sds.sdsu.edu/). Please allow 10-14 business days for this process.

Class rosters are provided to the instructor with the student’s legal name. Please let me know if you would prefer an alternate name and/or gender pronoun. 

COURSE MATERIALS

Materials for this course include assigned texts, videos, podcasts, academic articles, news articles, slides, and assignment prompts.Materials are in Canvas (modules and files) as PDFs and links.

COURSE DESIGN: MAJOR ASSIGNMENTS AND ASSESSMENT

% weightAssignment TypesDetails and DeadlinesPoint Total
10%ParticipationSee Grading Policies
for details		15 points total
(point value)
25%2 ResponsesSee Canvas for details and due dates30 points
(point value)
5%Attend and review one TTF/TFM productionPerformances announced in class10 points total
(point value)
10%Midterm Quiz:
Lecture Slides		Due in Canvas @ 11:59 PM by
Wed., March 11		15 points total
(point value)
50%Student’s Choice
Option 1: Cumulative Final Exam
Option 2: S3 Proposal and Presentation OR Performance/Film 		See Course Calendar and Canvas
for various deadlines		30 points total
(point value)
Extra CreditOpportunities are announced in class and published throughout the semester in Canvas.Max: 10 total points
100%TOTAL: 100 points

COURSE SCHEDULE

Please see the module in Canvas to access all assigned materials. 

Week and DateAssigned Materials (complete before class meets)Assignment
Week 1: Course Overview
Week 1
(Wed. 1/21)		Welcome | Syllabus | Course Policies |Learning OutcomesExplore: Smithsonian Libraries and Archives Television collection
Week 2: TV in Homes
Week 2
(Wed. 1/28)		Watch: National Geographic. (2015). American Genius (S1:E5). (43 mins)
Read: Rothman and Overbey. (2017). How TV Became Art.
Read: PBS. The Rise of TV Quiz Shows.
Watch: Amos ‘n’ Andy. (1953). Kingfish Sells a Lot (S2:E8).
Optional: Cable History Timeline. 1-3.
Week 3: Early TV Programming
Week 3
(Wed. 2/4)		Read: Tredy, D. (2022). The ‘First Great Purge’ of American Television Programming. 1-17.Read: Giotta, G. (2017). Sounding Live: An Institutional History of the Television Laugh Track. 331-348. Watch: The Donna Reed Show. (1959) The Ideal Wife (S1:E25).Explore: 16mm Introduction on website How Television Used to Be Made.Optional: Cable History. 4-9.
Week 4: Young TV Viewers
Week 4
(Wed. 2/11)		Explore: Norman Rockwell Museum’s digital exhibit Hanna-Barbera: The Architects of Saturday Morning
Read: Mittell, J. (2003). The Great Saturday Morning Exile. 52-78.
Listen/Read: Minow, N. (1961). Television and the Public Interest.
Watch: Hanna, W. and Barbera, J. (1958). Tom and Jerry Theatricals, (S1:E49) Trap Happy, 13:20-20:29. (backup)
Optional: Cable History. 9-15.




Week 5: Race on TV
Week 5
(Wed. 2/18)		Read: hooks, b. (1992). The oppositional gaze. Pp. 115-131.
Read: Acham, C. (2004). Respect Yourself! Black Women and Power in Julia and Good Times. Pp. 110-126.
Watch: Kanter, H. (1968). Julia, (S1:E1) Mama’s Man. 0-14:00. (We will watch the 2nd half in class.)
Read: Warner, K. (2015) The Racial Logic of Grey’s Anatomy… 631-647.
Optional: Albarrán-Torres, C. (2023). Walter White and the use of Brown bodies in Breaking Bad. 123-143.
Optional: Cable History. 15-23.


Week 6: TV and the ‘Network Event’
Week 6
(Wed. 2/25)		Read: Battaglio, S. (2018). War, riots and assassinations: 1968’s TV news…Read: Brownell, K. (2020). Watergate, the Bipartisan Struggle for Media Access… 175-198.
Explore: History of Closed Captioning.
Optional: Cable History. 23-35.		Due: Response #1 due in Canvas Wed., 2/25 @ 11:59 PM
Week 7: Cable TV
Week 7
(Wed. 3/4)		Watch: 21 Jump Street. (1987). Pilot. (S1:E1).
Read: Calavita, M. (2007). ‘MTV Aesthetics’ at the Movies… 15-31.
Read: Seiter, E. (2007). Worldwide Wrestling Entertainment’s Global Reach: Latino Fans and Wrestlers. 354-374.
Optional: Cable History. 35-45.		Midterm Quiz goes live after class and remains open for only one week.
Week 8: ‘Trash TV’
Week 8
(Wed. 3/11)		Read: Grindstaff, L. (2002). Chapter 1: Airing Dirty Laundry. 17-29.
Read: Hill, A. (2005). Chapter 2: The rise of reality TV. 24-40.
Watch: The Real World: Seattle. (1998). S:7, EP: 1, Seattle’s Best, 0-20:40.
Optional: Sykes, P. and Kale, S. (2022). The Social Experiment: Big Brother Is Watching You (Spotify subscription not required).
Optional: Cable History. 45-55.		Due: Midterm Quiz due in Canvas Wed., 3/11 @ 11:59 PM
Week 9: Crime TV
Week 9
(Wed. 3/18)		Listen: Taberski, D. (2019). Mind Blown. First 23 minutes.
Watch (potentially in class): Chase, D. et al. (2001). Sopranos – episode TBD.
Read: Albarrán-Torres, C. (2023). ‘El Chapo’ gets the Netflix treatment… 186-209.
Optional: Cable History. 55-63.		OPTION 2
Due: Part 1: S3 Proposal due in Canvas Wed., 3/18 @ 11:59 PM
Week 10: ‘Comedy’ on TV
Week 10
(Wed. 3/25)		Read: Bankes, E. (2016). The Dangers of ‘Miss Information’: Science and Comedy in South Park. 1-7.
Watch: Parker, T. and Stone, M. (2020). South Park, The Pandemic Special. (S24:E1).
Read: Baron, C. (2023). Fourth Cinema Genre Mash-Up: Coming-of-Age Drama and Sketch Comedy in Reservation Dogs. 27-39.
Optional: Cable History. 64-69.


Week 11: Spring Recess
Week 11
(Wed. 4/1)		No assigned readings.
Spring Recess
No Class
Week 12: Internet TV Boom
Week 12
(Wed. 4/8)		Watch: Foster, E. et al. (1995). Ch. 11: Television’s Impact on Movies and the Future of Television, 49:52-56:07.
Read: FCC. (1996). General Overview: Telecommunications Act of 1996.
Read: Foroohar, R. et al. (2005). Changing Channels; The idea of sitting in front of a box in your living room is becoming obsolete… 1-6.
Read: (2015). Net Neutrality: President Obama’s Plan for a Free and Open Internet.
Optional: Cable History Timeline. 70-78.		OPTION 2
Due: Part 2: Annotated Bibliography for S3 Proposal in Canvas Wed., 4/8 @ 11:59pm
Week 13: Streaming as TV
Week 13
(Wed. 4/15)		Read: Tavlin, W. (2025). Casual Viewing: Why Netflix looks like that.
Read: Lobato, R. (2025). Automated content recognition (ACR), smart TVs, and ad-tech infrastructure. 1-15.
Watch: anything on Tubi Live OR the platform of your choice for ~20+ mins
Optional: Alforova, Z. et al. (2021). Impact of Digital Technologies on the Development of Modern Film Production and Television. 1-11.		Due: Response #2 is due in Canvas Wed., 4/15 @ 11:59 PM
Week 14: Piracy & TV
Week 14
(Wed. 4/22)		Read: Strangelove, M. (2015). Music Piracy and the Future of Television. 21-47.
Read: Borja, K., et al. (2024). Streaming movies, series and shows: attitudes and beliefs among Gen Zers. 96-115.
Watch: anything unlocked and “live” on any free Philo channel, anything on Tubi Live OR the platform of your choice for ~20+ mins
Week 15: Representation on TV
Week 15
(Wed. 4/29)		Watch:
Chung, G. (2021). Asian Representation in American Media.
Read: Lamari, L., & Greenhill, P. (2021). Double Trouble: Gender Fluid Heroism in American Children’s Television. 169-180.
Read: Lopera-Mármol et al. (2022). Communicating Health: Depictions of Depression, APD, Autism…. 1-17.
Optional: Butler, J. (2023). Berkeley professor explains gender theory.





Week 16: S3 Presentations | Cumulative Final Exam
Week 16
(Wed. 5/6)		* S3 Presentations *

OPTION 1: Cumulative Final Exam is online. There is no in-person exam.

OPTION 2:
Present live to class: Rough Drafts of S3 Presentations OR Performances/Film		OPTION 1:
Cumulative Final Exam goes live after class, must be taken in one sitting by
Wed., 5/13 @ 11:59 PM in Canvas

OPTION 2:
Part 3: Rough Draft – S3 Presentation OR Performance/Film is due in class on
Wed., 5/6 @ 7 PM
Week 17 (Finals)(Wed. 5/13)OPTION 2:
Submit an Abstract (required) and Individual Process Statement (optional) for the S3 Presentation OR Performance/Film.
OPTION 2
Part 4: Abstract (required) in Canvas by Wed., 5/13 @ 11:59 PM Individual Process Statement (optional) due in Canvas by Wed., 5/13  @ 11:59 PM

GRADING POLICIES AND ATTENDANCE

Our class meets once per week in the evening, and we are expected to cover a lot of ground about the history of television. It is important that students continue developing their general writing, critical thinking, and research skills to achieve the course learning outcomes, succeed at SDSU, and see the real-world applicability of TV history. 

SDSU’s Office of Educational Opportunity Programs, Outreach and Success (EOPOS) requires adjunct faculty to provide dates of attendance for EOPOS students who might be at-risk of potentially failing this course or experiencing problems that impact their ability to succeed. A record of attendance is required for EOPOS feedback requests. To comply with EOPOS feedback requests, data from participation activities are used to confirm whether a student is routinely attending lectures. Students must use their SDSU Gmail credentials and Canvas login details to submit their responses for Poll Everywhere and Google Forms. If you encounter technical or accces issues, you may submit handwritten responses during lecture.  

  • Participation does not constitute a significant percentage of the student’s overall course grade. However, missing more than three lectures likely will impact your participation grade. This course is listed as “in person.” It is not an asynchronous course. 
  • To offset any impacts on an overall course grade, including missing participation points, students should take advantage of any extra credit opportunities offered during the semester. 
  • If you choose not to attend class, there are Mediasite recordings posted after every lecture for your viewing to keep up with course content. Mediasite recordings are not a substitute for in-person learning.
  • Students may submit late and missing Response(s) by Tuesday, December 16 at 11:59 p.m. PT. There is a flat 3% penalty for each late Response. The penalty is manually applied to each late response at the end of the semester. Institutional accommodations for flexible and extended deadlines that are granted through Student Disability Services will be honored.
  • We may use Turnitin as a plagiarism detector in our course for the major writing assignments depending on trends that emerge when students use generative AI to complete course assignments. We will discuss Academic Integrity and the use of Artificial Intelligence (AI) in class as deadlines for major-stakes assignments approach.

For students receiving a letter grade for this course, the letter scheme indicates the following scale of academic production:

  • A – You have excelled in ALL THE REQUIREMENTS for this class, producing excellent work that is distinguishable from generative AI and incorporates an exemplary understanding and unique, creative, and/or imaginative perspective of the readings, course concepts, and real-world applicability when necessary. All assignments are accessible, completed, and submitted on time by the deadlines. 
  • B – You have performed WELL OVER THE MINIMUM REQUIREMENTS for this course by producing written work with or without the aid of generative AI. Submitted work demonstrates a competent and clear or standardized understanding of the readings and concepts for the class when necessary. The majority of assignments are submitted on time by the deadlines.
  • C – You HAVE MET THE MINIMUM REQUIREMENTS for this class, producing satisfactory written work, which includes assignments that demonstrate an acceptable and cursory or standardized understanding of the readings and concepts of this class when necessary. All assignments are submitted by the end of the semester. 
  • D – You HAVE NOT MET THE MINIMUM REQUIREMENTS for this class, producing written projects that reveal concerns or problems with understanding basic concepts of this class. Assignments are missing, improperly submitted, and/or incomplete. 
  • F – You DID NOT COMPLETE COURSEWORK THAT MET THE MINIMUM requirements for this class.

GENERATIVE ARTIFICIAL INTELLIGENCE (GEN AI)

In this class, you’ll study the history of television through a critical lens, including how technologies like generative AI are reshaping media and labor. To that end, we recognize AI tools (such as ChatGPT, Claude, Elicit, etc.) can be useful—but they must be used ethically, responsibly, and in line with course goals.

You may consider AI as a potential research tool aid for this course to clarify dense course concepts, scholarly perspectives, and/or historical trajectories involving television. You may not use AI applications as a total substitute for your own critical thinking and critical writing skills.

Any use of generative AI (like ChatGPT, elicit.org, etc.) and generative AI apps not assigned by the instructor may constitute academic dishonesty and be subject to discipline under the terms of the SDSU Student Code of Conduct. Students who do not document and attribute GPT-4o or similar unauthorized generative AI tools in their writing exercises and major assignments may be in violation of the course policy on academic dishonesty and may be reported to the Center for Student Rights and Responsibilities.

Two Levels of AI Use:

  • Restricted Use: Allowed only in specific contexts.
  • Documented Use: Allowed with proper citation practices and transparency  

Permitted AI Use (With Restrictions)

  • Restricted – Generative AI tools are permitted in this course for the following:
  • Brainstorming (versus producing) ideas for the S3 Proposal, Annotated Bibliography, and Presentation OR Performance/Film.
  • Brainstorming versus writing and/or producing Responses, TTF/TFM review, S3 Proposal and Presentation OR Performance/Film.  
  • Restricted – Generative AI tools are disallowed in this course for the following:
    • Producing answers for the Midterm Quiz
    • Writing or producing content or answer for Option 1: Cumulative Final Exam and any short-answer questions
    • Writing or producing content for Option 2, including the S3 Proposal, Annotated Bibliography, and Presentation OR Performance/Film
    • Documented – The latest ChatGPT Edu version provided by SDSU is permitted in this course and must be thoroughly cited and documented when used for the following:
    • Any aspect brainstorming and informing personal ideas for Responses
    • When using generative AI in this course for Responses, students must provide chatbot transcripts, an attribution statement, and take responsibility for all content submitted, even when generated by ChatGPT
  • Documented – Generative AI tools are disallowed in this course for the following:
    • Producing answers for the Midterm Quiz
    • Producing answers for Option 1: Cumulative Final Exam, including short-answer questions
    • Producing content for Option 2: S3 Proposal, Annotated Bibliography, and Presentation OR Performance/Film
    • Producing content for Option 2: S3 Proposal, Annotated Bibliography, and Presentation OR Performance/Film

Copying AI-generated content into your work without full citation and instructor approval may be considered academic dishonesty and referred to the Center for Student Rights and Responsibilities.

Why This Matters

AI can support—not replace—your critical thinking, writing, literacy development, and academic integrity. It is essential to understand the sociocultural and labor implications of technologies that can mimic—but not replace—human creativity and ethics.

If you are unsure whether a specific use of generative AI tools is permitted, consult the instructor before using it. When in doubt, inquire what AI use is permitted with the instructor and engage in conversation about your academic challenges and needs. 

PLAGIARISM

At SDSU, “Plagiarism is defined as the act of incorporating ideas, words, or specific substance of another, whether purchased, borrowed, or otherwise obtained, and submitting same to the university as one’s own work to fulfill academic requirements without giving credit to the appropriate source.” Offenders liable to penalties explicit in Section 41301 of Title 5, California Code of Regulations as follows: Expulsion, Suspension, and Probation of Students. Following procedures consonant with due process established pursuant to Section 41304, any student of a campus may be expelled, suspended, placed on probation, or given a lesser sanction for one or more of the following causes that must be campus related. For more information, go to the SDSU Cheating and Plagiarism webpage.

STUDENT LEARNING OUTCOMES

There are 6 main learning goals and objectives in this course. Students will:

  1. Cultivate a historical view of the evolution of television within a domestic context particularly as it relates to the U.S. media landscape and global influences. 
  2. Learn how media practitioners, scholars, and creatives use various methods to communicate TV history to diverse audiences.
  3. Discuss TV’s cultural politics, and identify critical interventions in the production and dissemination of content and academic research about its complex history.
  4. Collect, evaluate, and use resources to communicate nuanced and creative perspectives about TV culture and mass media.
  5. Study, recall, analyze, and critique television content and media institutions, including corporate and regulatory structures.
  6. Participate in TV discourse while building upon critical literacy skills, rhetorical listening, and ethical practices for writing and research.

DIVERSITY AND INCLUSION

The School of Theatre, Television, and Film is committed to creating a learning environment which advances racial and social justice, anti-racism, and cultural diversity. As storytellers, we believe that we have a responsibility to reflect the ever-evolving world we live in and promote narratives that provoke thought and action using the narrative art forms available to us. Our students collaborate with faculty to develop and realize their creative potential as artists, scholars, leaders, and global citizens. We practice diversity, equity, and inclusion and support pluralism through historical analysis, theoretical explorations and practical experience in theatre, television, and film. Our pedagogical approach leads students from critical analysis through problem solving into practical action and the realization of art, scholarship, and transformational educational experiences.

This course recognizes the need to transform our educational practices to directly and explicitly address anti-Black violence and support marginalized students, including those who occupy multiple marginalized identities around disability, class, socioeconomic status, neurodiversity, gender, sexuality, language, and citizenship. This requires applying a critical, anti-racist lens through which to read and engage with course materials and apply to assignments, projects, and other creative works. It also necessitates a shared responsibility for maintaining our learning environment as actively anti-racist. This course calls on all of us to cultivate a classroom environment built on mutual respect to ensure the safety for all peers and instructors so we can collectively confront problems, including racism, within the context of TV media. 

For additional information about Course Policies, visit TFM-430 (Spring 2026) Course Policies and SDSU’s Principles of Community.

FOOD INSECURITY RESOURCES

Associated Students is committed to fighting food insecurity. The Economic Crisis Response Team (ECRT) has provided a list of General Resources and Food Resources to support students who are food insecure. If you need additional support, contact ECRT or email ecrt@sdsu.edu.

MEDIASITE

This course will be using Mediasite Automated Capture, which captures the content being shared on the projector as well as the front of the classroom. If students do not want their likeness during class participation included in the recorded class session, they may elect to not participate via video recordings. 

Recordings will be made available subject to the following conditions:

  • Only students enrolled in the class may view the recording.
  • Students may not post or use the recordings in any other setting (e.g., social media) for any purpose. Students who violate this will be subject to student discipline, up to and including expulsion.
  • Federal and California law as well as University policies protecting intellectual property rights and use of instructional materials (including any recordings of class sessions) remain in effect.
  • If faculty have any plan to use the recording for a different class in the future, the faculty member will need written FERPA consent from those students in the current class who are identifiable in any of the recordings. A FERPA consent form signed by all students in the course will also be needed if the recordings are made available to others beyond the classroom on a nonsecure digital platform.

How to use Mediasite Automated Capture:

  • Course recordings are not a substitute for attending class
  • Research shows active note-taking in class improves student success (Kiewra, 1989)
  • Technical issues may result in delays or loss of recorded materials 
  • Recordings can be found in Canvas

Therefore, do not rely solely on these recordings. If you encounter issues, please alert me of any issues related to the course recording archives or you may reach out to the Library Online Computing Hub.

For more information about SDSU’s Course Capture visit its.sdsu.edu/capture/

REFERENCES

Acham, C. (2004). Respect Yourself!: Black Women and Power in Julia and Good Times. In Revolution Televised: Prime Time and the Struggle for Black Power (NED-New edition, pp. 110–142). University of Minnesota Press. http://www.jstor.org/stable/10.5749/j.cttttx48.9 Pp. 110-126. 

Albarrán-Torres, C. (2023). Global Trafficking Networks on Film and Television : Hollywood’s Cartel Wars, Taylor & Francis Group. ProQuest Ebook Central, https://ebookcentral.proquest.com/lib/sdsu/detail.action?docID=6437572 and https://csu-sdsu.primo.exlibrisgroup.com/permalink/01CALS_SDL/r45sar/alma991023694051702917

Alforova, Z., Marchenko, S., Kot, H., Medvedieva, A., & Moussienko, O. (2021). Impact of Digital Technologies on the Development of Modern Film Production and Television. Rupkatha Journal on Interdisciplinary Studies in Humanities, 13(4).
https://doi.org/10.21659/rupkatha.v13n4.72
https://csusdsu.primo.exlibrisgroup.com/permalink/01CALS_SDL/10r4g1c/cdi_crossref_primary_10_21659_rupkatha_v13n4_72

Alvey, M. (2004). ‘Too many kids and old ladies’: quality demographics and 1960s US television. Screen (London), 45(1), 40–62. https://doi.org/10.1093/screen/45.1.40
https://csu-sdsu.primo.exlibrisgroup.com/permalink/01CALS_SDL/10r4g1c/cdi_proquest_miscellaneous_1035704791

American Archive of Public Broadcasting. (1973). 1973 Watergate Hearings; 1973-05-17; Part 1 of 6. Boston, MA: Library of Congress, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Accessed on August 18, 2925 and retrieved from http://americanarchive.org/catalog/cpb-aacip-512-6688g8g717

Anton, A. (2016). Humour and intertextuality: The use of inter- referentiality in the simpsons, south park and family guy. Sociologie Romaneasca, 14(4). Pp. 29-44. Retrieved August 11, 2025, from http://libproxy.sdsu.edu/login?url=https://www.proquest.com/scholarly-journals/humour-intertextuality-use-inter-referentiality/docview/2386353155/se-2

The Atlantic. (2019). America is Obsessed with Serial Killers. Retrieved August 16, 2023, from YouTube https://youtu.be/W8tMm8DsnLI.

ADAPT. (2020). How Television Used to Be Made. Retrieved August 14, 2023, from https://www.adapttvhistory.org.uk/

Bankes, E. (2016). “The Dangers of ‘Miss Information’: Science and Comedy in South Park.” Journal of Science Communication, vol. 15, no. 2, 2016, p. C02, https://doi.org/10.22323/2.15020302.

Baker, D. (2017). Terms of Excess: Binge-Viewing as Epic-Viewing in the Netflix Era. In The Age of Netflix: critical essays on streaming media, digital delivery and instant access. Barker, C. and Wiatrowski, M. (Eds). McFarland & Company, Inc. Publishers. 31-54.
https://csu-sdsu.primo.exlibrisgroup.com/permalink/01CALS_SDL/r45sar/alma991023493315702917

Banks, M. J. (2014). Oral History and Media Industries: Theorizing the personal in production history. Cultural Studies (London, England), 28(4), 545–560. https://doi.org/10.1080/09502386.2014.888921
https://csu-sdsu.primo.exlibrisgroup.com/permalink/01CALS_SDL/10r4g1c/cdi_informaworld_taylorfrancis_310_1080_09502386_2014_888921

Banet-Weiser, S. et al. Cable Visions : Television Beyond Broadcasting, New York University Press, ProQuest Ebook Central, https://ebookcentral.proquest.com/lib/sdsu/detail.action?docID=865538

Baron, C. (2023). FOURTH CINEMA GENRE MASH-UP: Coming-of-age drama and sketch comedy in reservation dogs. Velvet Light Trap, (92), 27-39. doi:https://doi.org/10.7560/VLT9204. Accessed August 12, 2025 https://csu-sdsu.primo.exlibrisgroup.com/permalink/01CALS_SDL/10r4g1c/cdi_proquest_journals_2882570771

Baume, M. (2021). Alice & the Gayest Week in TV History. Retrieved August 16, 2023, from YouTube https://youtu.be/yIVAaMoG8N8. 

Becker, M. (2008). “I Hate Hippies”: South Park and the Politics of Generation X. In J. A. Weinstock (Ed.), Taking South Park Seriously. Pp. 145–164. State University of New York Press. https://doi.org/10.2307/jj.18253053.13

Becker, R. (2006). Gay-Themed Television and the Slumpy Class: The Affordable, Multicultural Politics of the Gay Nineties. Television and Media. 7:2. 184-215.
https://csu-sdsu.primo.exlibrisgroup.com/permalink/01CALS_SDL/10r4g1c/cdi_scopus_primary_402679832
https://doi.org/10.1177/1527476403255830

Big Think. (2023). Berkeley professor explains gender theory | Judith Butler. Retrieved August 16, 2023, from YouTube https://youtu.be/UD9IOllUR4k

Borja, K., Rodriguez, S., & Roby, C. (2025). Streaming movies, series and shows: attitudes and beliefs among Gen Zers. Young Consumers, 26(1), 96–115. https://doi.org/10.1108/YC-04-2024-2057. Accessed on August 12, 2025, https://csu-sdsu.primo.exlibrisgroup.com/permalink/01CALS_SDL/10r4g1c/cdi_emerald_primary_10_1108_YC-04-2024-2057

Boyd, D. A. (1988). Third World Pirating of U.S. Films and Television Programs from Satellites. Journal of Broadcasting & Electronic Media, 32(2), 149–161. https://doi.org/10.1080/08838158809386691

Brownell, K. (2020). Watergate, the Bipartisan Struggle for Media Access, and the Growth of Cable Television. Modern American History, 3(2-3), 175-198. doi:10.1017/mah.2020.18. https://csu-sdsu.primo.exlibrisgroup.com/permalink/01CALS_SDL/15ped5q/cdi_crossref_primary_10_1017_mah_2020_18

Brunette, P. (2023). The Three Stooges and the (Anti-)Narrative of Violence: De(con)structive Comedy. In Comedy/Cinema/Theory (1st ed., pp. 174-). University of California Press. https://csu-sdsu.primo.exlibrisgroup.com/permalink/01CALS_SDL/10r4g1c/cdi_jstor_books_jj_5973184_13

Calavita, M. (2007). “MTV Aesthetics” at the Movies: Interrogating a Film Criticism Fallacy. Journal of Film and Video, 59(3), 15–31. http://www.jstor.org/stable/20688566
https://csu-sdsu.primo.exlibrisgroup.com/permalink/01CALS_SDL/10r4g1c/cdi_scopus_primary_550057309.

CBS. Amos ‘n’ Andy. (1951). [Published by Reelblack One.] Retrieved August 14, 2023, from YouTube https://youtu.be/MleAyyYPSUs

CBS News. (2023). Face the Nation. Kara Swisher says Hollywood’s shift to streaming is “necessary” and “important,” but “expensive.” Retrieved August 14, 2023, from YouTube https://youtu.be/T909jtq7Z1A

CBS News. (2020). Speaking Frankly: Cancel Culture. Retrieved August 16, 2023, from YouTube https://youtu.be/MJ-VxPfmml0

Chase, D., Grey, B., Green, R., Burgess, M., Landress, I. S., Winter, T., & Weiner, M. (Executive Producers). (2001). The Sopranos, The Army Of One (S3:E13). Chase Films; Brad Grey Television; HBO Entertainment.

Choe, D. E., Lawrence, A. C., & Cingel, D. P. (2023). The Role of Different Screen Media Devices, Child Dysregulation, and Parent Screen Media Use in Children’s Self-Regulation. Psychology of Popular Media, 12(3), 324–334. https://doi.org/10.1037/ppm0000412

Chow, A. R. (2022). Changing TV from the Reservation. Time (Chicago, Ill.), 200(5/6), 79. Accessed August 12, 2025, https://csu-sdsu.primo.exlibrisgroup.com/permalink/01CALS_SDL/10r4g1c/cdi_proquest_miscellaneous_2702254460

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