TFM-430: History of Television

Fall 2023
Schedule Number: 11156

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, academic articles, news articles,  slides, and assignment prompts.
Materials are located in Canvas (modules and files) as PDFs and clickable links.

COURSE DESIGN: MAJOR ASSIGNMENTS AND ASSESSMENT

15%TasksSee Canvas
  for announced
due dates		15 points
(point value)
5%Attend one TTF/TFM productionSee Canvas for announced dates5 points
(complete/incomplete)
20%Attendance OR Lecture Responses (4 Total)See Course Calendar
  for due dates.		20 points
(complete/incomplete)
20%Partner Cultural Analysis: Detailed Outline OR Detailed Mind Map AND Annotated BibliographyDue in Canvas @ 11:59 p.m. PT on Tuesday, Oct. 24
  		20 points
  (point value)
20%Partner Cultural Analysis:
Full Rough Draft for
Peer Review		Due in Canvas @ 11:59 p.m. PT on Tuesday, Nov. 2820 points
  (complete/incomplete)
20%Partner Cultural Analysis:
Abstract AND Revised Final Draft / Partner Presentation Alternative		Due in Canvas @ 11:59 p.m. PT on
  Tuesday, Dec 5 for feedback | Tuesday, Dec. 12 hard deadline, no feedback		20 points
  (letter grade)
 Extra CreditOpportunities are announced in class & published 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
TV and Theory: Thoughts from Public Intellectuals and Scholars
Week 1
(Tues. 8/22)		Course OverviewStudent Learning Outcomes
Week 2
(Tues. 8/29)		Read: Hsu, H. (2017). Stuart Hall and the Rise of Cultural Studies.Read: Hall, S. (1973). Encoding and Decoding in the Television Discourse. Pp. 258-276.Watch/Listen: Theory & Philosophy. (2021). Breakdown of Stuart Hall’s ‘Encoding and Decoding in the Television Discourse.’
Week 3
(Tues. 9/5)		Read: hooks, b. (1992). (The oppositional gaze. Pp. 115-131.Read: Ponzanesi, S. (2014). Postcolonial Culture Industry: Theory & Practice. Pp. 11-19.Watch/Listen: Challenging Media. (2006). Cultural Criticism and Transformation.
TV and Technology: How It Started Vs. How It’s Going
Week 4
(Tues. 9/12)		Read: Hilmes, M. (2007). NBC and the Network Idea […]. Pp. 1-24.Read: Tredy, D. (2022). The ‘First Great Purge’ of American Television Programming…Watch/Listen (student’s choice): Amos ‘n’ Andy. (1951). Either The Robbery OR Sapphire’s Turkeys. Explore: 16mm Introduction on website How Television Used to Be Made.Lecture Response #1 is due in Canvas on Tues. 9/12 @ 11:59 p.m.

*Sapphire’s Turkeys begins at the 26.25-minute mark. 
Week 5
(Tues. 9/19)		Read: Conway, K. (2023). Reading oil (back) into media history… Pp. 410-426.Read: Brownell, K. (2020). Watergate, the Bipartisan Struggle for Media Access… Pp. 175-198.Watch/Listen: PBS NewsHour. (2023). Reaction to Watergate tapes contrasts with today’s response. Explore: History of Closed Captioning.OPTIONAL: Watch/Listen: Fadel, L. and Folkenflik, D.(2023). How conservative media are covering Donald Trump’s 3rd Indictment.
Week 6
(Tues. 9/26)		Read: Calavita, M. (2007). ‘MTV Aesthetics’ at the Movies… Pp. 15-31.Read: Martínez, K. (2007). Monolingualism, Biculturalism, and Cable TV: HBO Latino and the Promise of the Multiplex. Pp. 194-214.Watch/Listen: Rotter, R. (2022). Tabloid TV from Dark Side of the 90s. Alternative temporary link 
Week 7
(Tues. 10/3)		Read: Murphy, S. (2011). …Television in and as new media. Pp. 79-102.Read: Baker, D. (2017). Binge-Viewing as Epic-Viewing in the Netflix Era. Pp. 31-54.Watch/Listen: USA Today. (2023). Hollywood on strike: Justine Bateman on AI and the future of entertainment. 
Week 8
(Tues. 10/10)		Read: Forte, G. et al. (2023). To Binge Watch TV Series: How a Leisure Activity May Affect Sleep, Mood and Quality of Life. Read: Choe, D.E. et al. (2023). The Role of Different Screen Media Devices Child Dysregulation, and Parent Screen Media Use… Pp. 324–334. Watch/Listen: CBS News. (2023). Face the Nation. Kara Swisher Says Hollywood’s Shift to Streaming Is…Due: Lecture Response #2 is due in Canvas on Tues. 10/10 @ 11:59 pm
TV and the Cultural Politics of Representation:
Intersectional Viewpoints
Week 9
(Tues. 10/17)		Read: Vogan, T. (2017). Monday Night Football and the Racial Roots of the Network TV Event. Pp. 235-251.Read (student’s choice): Either Esposito, J. (2009) What Does Race Have to Do with Ugly Betty? Pp. 521-535 OR Warner, K. (2015) The Racial Logic of Grey’s Anatomy… Pp. 631-647. Watch/Listen: Slate. (2016). This Is What Happens When Writers’ Rooms Aren’t Diverse.
Week 10
(Tues. 10/24)		Read (student’s choice): Either Merkley, E. & Stecula, D. (2018). Party Elites or Manufactured Doubt? The Informational Context of Climate Change Polarization. Pp. 258-274 OR Lopera-Mármol et al. (2022). Communicating Health: Depictions of Depression, APD, Autism…. Pp. 1-17 Read: Corredera, V. (2020). ‘How Dey Goin’ to Kill Othello?!’ Key & Peele and Shakespearean Universality. Pp. 27-35Watch/Listen: Key & Peele. (2020). They Really Did That to OthelloWatch/Listen: Our Changing Planet. (2020). Why TV Comedies Get Climate Change So Wrong. Watch/Listen: The Atlantic. (2019). America is Obsessed with Serial Killers.Due: Partner Cultural Analysis: Detailed Outline OR Detailed Mind Map AND Annotated Bibliography are due in Canvas by 11:59 p.m.
Week 11
(Tues. 10/31)		Read: Becker, R. (2006). Gay-Themed Television and the Slumpy Class. Pp.184-214. Read: Lamari, L., & Greenhill, P. (2021). Double Trouble: Gender Fluid Heroism in American Children’s Television. Pp. 169–180.Watch/Listen: Big Think. (2023). Berkeley professor explains gender theory | Judith Butler.
OPTIONAL: Watch/Listen: Alice & the Gayest Week in TV History. 
Week 12
(Tues. 11/7)		Read:  Wang, G. (2010). A Shot at Half-Exposure: Asian Americans in Reality TV Shows. Pp. 404-427.Read: Loyer, J. (2020). Indigenous TikTok is transforming cultural knowledge.Watch/Listen:  Chung, G. (2021). Asian Representation in American Media.OPTIONAL: Read: Kuga, M. (2021). The White Lotus is as clueless about Native Hawaiians as its characters.Due: Lecture Response #3 is due in Canvas on Tues. 11/7 @ 11:59 p.m.
TV and Controversy: Impacts of Regulation and Cancel Culture 
Week 13
(Tues. 11/14)		Read: Kuś, R. (2022). Minow’s… Rhetoric of the end of the golden age of television. Pp. 137-151.Watch/Listen: Minow, N. (1961). Television and the Public Interest.Read: Ouellette, L. & Lewis, J. (2000). Moving beyond the ‘Vast Wasteland’… Pp. 95-115.OPTIONAL: Read: Montgomery, K.C. (1989). Cleaning Up TV. Pp. 154-173.
Week 14
(Tues. 11/21)		No class due to holiday
(Thanksgiving recess)
Week 15
(Tues. 11/28)		Read: MacIsaac, J. (2019). Nipplegate and the Effects of Implicit vs. Explicit Sexuality in Pop Music Performance. Pp. 46-64.Read: Dudenhoefer, N. (2020). Is cancel culture effective?Watch/Listen: CBS News. (2020). Speaking Frankly: Cancel Culture.Explore: website for the Federal Communications Commission
(all 5 tabs on the menu; 15 to 20 mins)		Due: Partner Cultural Analysis:Full Rough Draft forPeer Review is due in Canvas by Tuesday, 11/28 @ 11:59 pm. 
Due: Peer Reviews are due within 24 hours once assigned. 
Week 16
(Tues. 12/5)		Course Wrap-UpDue: The soft deadline to submit Partner Cultural Analysis: Abstract + Revised Final Draft in Canvas is 11:59 p.m. Drafts submitted by this deadline receive feedback. Revised final drafts submitted thereafter will not receive feedback.
Week 17 (Finals)(Tues. 12/12)There is no formal in-person Final Exam scheduled. Please use this time to finish your Partner Cultural Analysis if you did not submit it last week.




Any missing Lecture Responses must be submitted to receive credit. Late penalties for Lecture Responses will be removed once graded. The hard deadline is 11:59 p.m. for any missing Lecture Responses. 		Due: 9 p.m. is the hard deadline to submit the Partner Cultural Analysis Revised Final Draft + Abstract. No feedback is provided other than a letter grade for the revised final draft. 
Due: Lecture Response #4 is due by 11:59 p.m. in Canvas. 

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 and research skills as we make the most of our time together. Institutional changes in SDSU’s grading system now require adjunct faculty to record dates of attendance for students who are at risk of failing any course. As such, there must be a record of attendance for institutional purposes for all students in this class. 

There will be a weekly Google form for attendance at the beginning of each class. Students will submit their details to record their attendance before the form is closed for submissions. If you are late for class, sign in on the hard copy of paper before you leave. Students who miss fewer than two (2) classes are not required to submit Lecture Responses in Canvas.

Approximately every three to four weeks, each Lecture Response will be marked as “Excused” to record consistent attendance in class. At the end of the semester, the status will convert from “Excused” to “Complete” so that the point total is recorded for your grade. If you need to leave class early, please note this when you sign in or feel free to communicate your plans via email. I understand there will be schedule conflicts, pre-existing obligations, transportation schedules, and unexpected challenges that affect a student’s ability to attend class on time and/or stay the entire time. For these reasons, students may submit Lecture Responses if they miss more than two (2) in-person classes to protect their overall course grade.

The system of grading for Attendance is as follows:

2 total absences:The student must submit one (1) Lecture Response by the end of the semester to avoid impacts to their overall course grade
3 total absences:The student must submit two (2) Lecture Responses by the end of the semester to avoid impacts to their overall course grade
4 total absences or more:The student must submit all four (4) Lecture Responses by the end of the semester to avoid impacts to their overall course grade

Students may submit any missing Lecture Response by Tuesday, Dec. 12 at 11:59 p.m. PT without incurring a late penalty that would affect their overall course grade. The late penalty default will be removed in Canvas after the assignment is reviewed and marked complete. All other assignments submitted past the hard deadlines will incur a flat 5% late penalty due to the impact late submissions have on the turnaround time for grading. Institutional accommodations for flexible and extended deadlines that are granted through Student Disability Services will be honored.

We will use Turnitin as a plagiarism detector in our course for the major writing assignments. We will discuss Academic Integrity when the deadlines for major-stakes assignments near.

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, which includes exceptional written assignments that incorporate an exemplary understanding of the readings and/or concepts for the class when necessary.

B – You have performed WELL OVER THE MINIMUM REQUIREMENTS for this course by producing good written work, which includes good written assignments that demonstrate a competent understanding of the readings and concepts for the class when necessary.

C – You HAVE MET THE MINIMUM REQUIREMENTS for this class, producing satisfactory written work, which includes acceptable written assignments that demonstrate a basic understanding of the readings and concepts of this class when necessary.

D – You HAVE NOT MET THE MINIMUM REQUIREMENTS for this class, producing poor written projects that reveal problems in understanding basic concepts of this class.

F – You DID NOT COMPLETE COURSEWORK THAT MET THE MINIMUM requirements for this class. 

ARTIFICIAL INTELLIGENCE (AI)

Any use of generative AI (like ChatGPT, elicit.org, etc.) not assigned by the instructor may constitute academic dishonesty and be subject to discipline under the terms of the SDSU Student Code of Conduct. Copying and pasting content accumulated from platforms that use AI without providing accurate, ethical, identifiable, traceable, and correct attribution with in-text citations and a formal Works Cited may also constitute academic dishonesty. Using AI to do the critical and creative work in this class can result in an incomplete assignment status or failing grade for the assignment in which the technology was used. You may consider AI as a potential research tool aid for this course but not as a substitute for your own critical thinking and critical writing skills. When in doubt, inquire what AI activities are permitted with the instructor.

STUDENT LEARNING OUTCOMES

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

1). Develop a historical view of the evolution of television within a domestic context particularly as it relates to the U.S. media landscape. 

2). Learn how media practitioners and scholars use historiographic methods to communicate the history of TV.

3). Address the cultural politics of representation and locate interventions in media representation of TV content as it is broadcast on various platforms.

4). Practice collecting, evaluating, and using resources to contextualize and inform a critical analysis of TV culture and mass media.

5). Study, analyze, and critique media institutions, including corporate and regulatory structures.

6). Enact creativity and build upon critical reading, critical thinking, ethical research, and communication skills.

DIVERSITY AND INCLUSION

Principles of Community & Anti-Racist Pedagogy 

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. This means honoring (y)our responsibility to ensure the safety for all peers and instructors so we can collectively confront racism within the context of media, specifically TV. It is important for those with racial or other privileges to recognize (y)our biases and make space to listen to and learn from peers and instructors who hold identities and experiences different from (y)our own. 

For additional information about Course Policies, visit TFM-430 (Fall 2023) Course Policies.

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

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/. 

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

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

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. 

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. 

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. 

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

Conway, K. (2023). Reading oil (back) into media history: The case of postwar television. International Journal of Cultural Studies, 26(4), 410–426. https://doi.org/10.1177/13678779221129295
https://csu-sdsu.primo.exlibrisgroup.com/permalink/01CALS_SDL/15ped5q/cdi_crossref_primary_10_1177_13678779221129295. 

Corredera, V. I. (2020). “How Dey Goin’ to kill Othello?!” Key & Peele and Shakespearean Universality. Journal of American Studies, 67(1), 27–35. https://doi.org/10.1017/S0021875819001981
https://csu-sdsu.primo.exlibrisgroup.com/permalink/01CALS_SDL/10r4g1c/cdi_scopus_primary_630897829. 

Chung, G. (2021). Asian Representation in American Media. Retrieved August 16, 2023, from YouTube https://youtu.be/VCLk6VlD_Tk. 

Esposito, J. (2009). What Does Race Have to Do with Ugly Betty? An Analysis of Privilege and Postracial(?) Representations on a Television Sitcom. Television and Media 10:6. 521-535.https://csu-sdsu.primo.exlibrisgroup.com/permalink/01CALS_SDL/10r4g1c/cdi_crossref_primary_10_1177_1527476409340906 https://doi.org/10.1177/1527476409340906. 

Fadel, L. and Folkenflik, D. (2023). How conservative media are covering Donald Trump’s 3rd indictment. Retrieved August 14, 2023, from NPR https://www.npr.org/2023/08/02/1191519742/how-conservative-media-are-covering-donald-trumps-3rd-indictment. 

Forte, G., Favieri, F., Tambelli, R., & Casagrande, M. (2023). To Binge Watch TV Series: How a Leisure Activity May Affect Sleep, Mood and Quality of Life. Psychology Research and Behavior Management, 16, 2395–2405. https://doi.org/10.2147/PRBM.S407854.
https://csu-sdsu.primo.exlibrisgroup.com/permalink/01CALS_SDL/15ped5q/cdi_doaj_primary_oai_doaj_org_article_67d3478ed3bc44f78d6fca65654754ef. 

Hall, S. (2019). Encoding and Decoding in the Television Discourse [originally 1973; republished 2007]. In D. Morley (Ed.), Essential Essays, Volume 1: Foundations of Cultural Studies, 257–276. Duke University Press. https://doi.org/10.2307/j.ctv11cw7c7.16. Accessed via JSTOR on August 11, 2023 https://www.jstor.org/stable/j.ctv11cw7c7.16 

hooks, b. (1992). The Oppositional Gaze: Black Female Spectators. In Black Looks: Race and Representation. 115-131. Retrieved January 13, 2023, from https://csu-sdsu.primo.exlibrisgroup.com/permalink/01CALS_SDL/r45sar/alma991005307639702917. 

How Television Used to Be Made (2013). 16mm Introduction retrieved August 14, 2023, from https://www.adapttvhistory.org.uk/16mm/. 

Hilmes, M., & Henry, M. (Eds.). (2007). NBC: America’s Network. University of California Press. Retrieved August 21, 2021, from http://www.jstor.org/stable/10.1525/j.ctt1pp6sx https://www-jstor-org.libproxy.sdsu.edu/stable/10.1525/j.ctt1pp6sx

Hsu, H. (2017). Stuart Hall and the Rise of Cultural Studies. The New Yorker. Retrieved August 11, 2023 from https://www.newyorker.com/books/page-turner/stuart-hall-and-the-rise-of-cultural-studies.  

Kuś, R. (2022). Newton N. Minow’s “Vast Wasteland”: Rhetoric of the end of the golden age of television. Res Rhetorica, 9(2), 138–151. https://doi.org/10.29107/rr2022.2.8
https://csu-sdsu.primo.exlibrisgroup.com/permalink/01CALS_SDL/15ped5q/cdi_doaj_primary_oai_doaj_org_article_efb0757f88904cc59bda06b0800aad7b

Lamari, L., & Greenhill, P. (2021). Double Trouble: Gender Fluid Heroism in American Children’s Television. Open Cultural Studies, 5(1), 169–180. https://doi.org/10.1515/culture-2020-0127
https://csu-sdsu.primo.exlibrisgroup.com/permalink/01CALS_SDL/15ped5q/cdi_walterdegruyter_journals_10_1515_culture_2020_012751169. 

Lopera-Mármol, M., Jiménez-Morales, M., & Jiménez-Morales, M. (2022). Communicating Health: Depictions of Depression, Antisocial Personality Disorder, and Autism without Intellectual Disability in British and U.S. Coming-of-Age TV Series. Humanities (Basel), 11(3), 66–. https://doi.org/10.3390/h11030066
https://csu-sdsu.primo.exlibrisgroup.com/permalink/01CALS_SDL/15ped5q/cdi_doaj_primary_oai_doaj_org_article_9c688ab08d1c43aeace372d1af545e53.

Loyer, J. (2020). Indigenous TikTok is transforming cultural knowledge. Retrieved July 31, 2022, from canadianart. https://canadianart.ca/essays/indigenous-tiktok-is-transforming-cultural-knowledge/.

MacIsaac, J. (2019). Nipplegate and the Effects of Implicit vs. Explicit Sexuality in Pop Music Performance. Nota Bene: Canadian Undergraduate Journal of Musicology, 12(1), Pp. 46-64. Accessed on August 22, 2022 https://csu-sdsu.primo.exlibrisgroup.com/permalink/01CALS_SDL/10r4g1c/cdi_crossref_primary_10_5206_notabene_v12i1_8146. 

Martinez, K. (2007). Monolingualism, Biculturalism, and Cable TV: HBO Latino and the Promise of the Multiplex. In Banet-Weiser, S., Chris, C., and Freitas, A, eds. Cable Visions : Television Beyond Broadcasting. New York: New York University Press, 2007. Accessed August 23, 2022. ProQuest Ebook Central. https://ebookcentral.proquest.com/lib/sdsu/detail.action?docID=865538. 

Merkley, E., & Stecula, D. A. (2018). Party Elites or Manufactured Doubt? The Informational Context of Climate Change Polarization. Science Communication, 40(2), 258–274. https://doi.org/10.1177/1075547018760334.
https://csu-sdsu.primo.exlibrisgroup.com/permalink/01CALS_SDL/15ped5q/cdi_crossref_primary_10_1177_1075547018760334. 

Minow, N. (1961). Television and the Public Interest. Retrieved August 22, 2022 from American Rhetoric. https://www.americanrhetoric.com/speeches/newtonminow.htm. 

Montgomery, K. C. (1989). Television under siege. Target: Prime time: advocacy groups and the struggle over entertainment television. ProQuest Ebook Central. 12-26. Retrieved from https://csu-sdsu.primo.exlibrisgroup.com/permalink/01CALS_SDL/10r4g1c/cdi_askewsholts_vlebooks_9780198021650.

Murphy, S. (2011). From Tube to a ‘Series of Tubes’: Television in and as New Media. In How Television Invented New Media. New Brunswick: Rutgers University Press. Pp. 79-102. https://www.jstor.org/stable/j.ctt5hhxkv.

National Captioning Institute. (2023). History of Closed Captioning. Retrieved on August 15, 2023, from https://www.ncicap.org/history-of-cc. 

Ouellette, L. (2002). Viewers Like You: How Public TV Failed the People. In Viewers Like You. Columbia University Press. 95-115. https://csu-sdsu.primo.exlibrisgroup.com/permalink/01CALS_SDL/10r4g1c/cdi_scopus_primary_402679700. 

Our Changing Planet. (2020). Why TV Comedies Get Climate Change So Wrong. Retrieved August 16, 2023, from YouTube https://youtu.be/tFQJ1sxCNd8. 

PBS NewsHour. (2023). Reaction to Watergate Tapes Contrasts with Today’s Response. Retrieved August 14, 2023 from PBS https://www.pbs.org/video/for-the-record-1689279463/. 

Ponzanesi, S. (2014). The postcolonial cultural industry: icons, markets, mythologies. New York, NY: Palgrave Macmillan. 11-19. https://csu-sdsu.primo.exlibrisgroup.com/permalink/01CALS_SDL/10r4g1c/cdi_springer_books_10_1057_9781137272591_2

Rotter, R. (2022, July 12). Tabloid TV (Season 2, Episode 6). In Hill, V., Ginsburg, M. & Healy, T.’s (Producers) Dark Side of the 90s. Insight Productions; Railsplitter Pictures. Retrieved August 14, 2023 from YouTube https://youtu.be/UmTruisFN6I. 

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