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电视研究中经常先入为主地把时限设在当代,永远是对目前状况进行研究。当我们为了理解当前以及未来的变化而格外需要建立起稳固的历史观时,这一观念的限制会很快凸显出来。———约翰·科诺,《批评观念》,第121页 在电视期刊《电视人》1944年的某一期中,RKO(雷电华)电视公司的一位制片人托马斯·哈钦森评论说,电视节目制作“明确地向制作者提出了挑战……我们此刻必须从经验中学习哪些材料是好的,哪些材料是差的”(《节目制作》,第12 页)。两年后,哈钦森引述了20个他认为切实可行的节目形式,并总结了电视节目制作的多种可能性:构成好电视节目的是一个公式,在将来的岁月里这个公式可能会引发激烈的争论。真正的答案是,只要得到正确的呈现,也许世间的一切在电视节目表中都可以找到自己的位置。这一新媒体丝毫都不迂腐保守。它可以轻而易举地从现存的一切资源中寻找娱乐(《这就是电视》,第113页)。
Television research, often preconceived mainly to set the time limit in the present, will always be to study the current situation. As we have a special need to establish a solid historical view in order to understand current and future changes, this notion of limits will soon become apparent. John Connor, Criticism, p.121 Thomas Hutchinson, a producer at RKO Television, commented in the 1944 television period Television Man , The production of television programs “clearly poses a challenge for producers ... we must now learn from experience what materials are good and which materials are bad” (Program Production, p. 12). Two years later Hutchinson quotes 20 of what he considers to be viable programs and summarizes the many possibilities of television programming: what constitutes a good television program is a formula that in the years to come may trigger discuss aggressively. The real answer is that as long as the correct presentation is made, perhaps everything in the world can find its place in the TV listings. This new media is not pedantic at all. It can easily find entertainment from all its extant resources (“This is the Television,” p. 113).