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Plagiarism should never be tolerated.If I was a Television Aesthete…As much as I like the cultural studies/ethnographic research on how viewers read/use television and how these studies illustrate ways in which audiences have more power within such a commercial industry (Fiske), I am wary of throwing away any hope of establishing a television aesthetics . While the wrangling over whether or not television is (a) high art(form) will probably go on foreveras it does even within traditionally sanctioned high art forms (e.g., "Are Mapplethorpe photographs art or pornography?"-type debates)I don't think the continual nature of this debate is enough of a reason to put off creating an aesthetics for television. It seems like many scholars want to wait to start "seriously" critiquing television until the medium is given high art status. However, only in creatingor more accurately, debating aboutan aesthetics will we get any closer to deciding what kind of "art" television really is . But, if, as Charlotte Brunsdon argues, scholars already implicitly create an aesthetics within their studies of audiences or narrative structure (e.g., self referentiality is "good"), why is it so difficult for scholars to really put themselves out there and state what good television is? Is it because the definition of television itself is debatable does "television" mean the individual texts on T.V. or the system of T.V. as a whole? If "television" refers to the entire televisual system, then creating an aesthetics might seem futilehow can you characterize beauty in something that essentially doesn't end (and thus you don't see entirely)? Or, if "television" refers to individual texts, wouldn't establishing an aesthetics end up being so case-specific (e.g., "good" sitcoms should satirize society; "good" dramas should revolve around character relationships) that it wouldn't be much use anyway? Also, would aesthetic critiques focus on the technical components of television, or on the actors'/writers' abilities, or both?
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