Posted by: Garret | September 27, 2014

No Guts, No Glory: The Rise of Gross-Out TV

The Strain's "banned" billboard, courtesy of 20th Century Fox & Rolling Stone  http://www.rollingstone.com/tv/features/the-rise-of-grossout-tv-20140918

The Strain’s “banned” billboard, courtesy of 20th Century Fox & Rolling Stone http://www.rollingstone.com/tv/features/the-rise-of-grossout-tv-20140918

We are definitively seeing this merger between B-movie aesthetics and High Definition spectacle on Television or Televisual Programming and it communicates a number of implications regarding the medium being utilized, the industry-in-transition, the shifting economics, improving technologies, audience taste, and perhaps most unnerving the allegorical ramifications such content suggests. In a handful of works, I’ve teased the introduction of the “Rotten Aesthetic” as a newfound genre convention explicitly endorsed in/by the television industry. Indeed, like all good genre, this aesthetic comprises fluent mixtures of ‘imitation and innovation’ (Cawelti, 1977, Kaminsky, 1985, Alman, 1999, & Phillips, 2005). As I’ve been drawing research on this specific phenomenon within the contemporary mediascape since 2010, the practice represents not a flighty wave but a legitimate narrative entanglement between the TV Studies tiers of Industry-Audience-Content-Context. I look forward to sharing more depth and detail at the National Communication Association 100th Annual Convention in Chicago, November 20-23, 2014 (specifically the morning of the 23rd). In the meantime, we’ll all keep watching and waiting for the next shock to set-in and/or wear off.

TIME

This post originally appeared on Rolling Stone.

Maybe you started to notice it last March, when AMC’s The Walking Dead featured a zombie’s head gets bashed in repeatedly by the butt of a machine gun. Perhaps it was during a key episode of Game of Thrones when the Red Viper, Oberyn Martell, unwisely lets his guard down in a fight — and the result is something that resembles a ripe melon given the Gallagher treatment. Or it could have been the moment on FX’s pandemic procedural-cum-horror show The Strain when an airport worker is drained of blood and skull-pummeled until there’s nothing left but a red blotch of punctuation on the floor.

And those are just the heads.

On television shows built for old-fashioned scares (NBC’s Hannibal, Showtime’s Penny Dreadful) and on those aiming for a little more prestige (Steven Soderbergh’s new Cinemax series The Knick, HBO’s

View original post 969 more words

Advertisements

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

w

Connecting to %s

Categories

Professional Wrestling Studies Association

Studying the Past, Present, and Future of Professional Wrestling

Feminist Frequency

Conversations with Pop Culture; feminist analysis of race, gender, class, sexuality and privilege in pop culture

The Motley View

The Journal of Film, Art and Aesthetics ISSN 2049-4254

Foreign Policy

the Global Magazine of News and Ideas

MikeWayne.org

critical media scholar

Occupy Madison - Tiny Houses & More!

Changing the world, one tiny idea at a time

Speak Up: Speech & Debate Education

A Forum for Speech Arts Educators

The Cultural COMMune

The Sacred Space of Discourse

USA TODAY College

Preparing students for tomorrow with USA TODAY

Intensities: The Journal of Cult Media

A refereed journal addressing all aspects of cult media

Cultural Learnings

Television Reviews and Analysis

Observer

People and Trends

TIME

Current & Breaking News | National & World Updates

Learn by Doing

Just another WordPress.com weblog

%d bloggers like this: