You are on page 1of 6

Some critics have argued that contemporary television has become increasingly cinematic.

Explain and illustrate with reference to a television programme of your choice. The 2001, miniseries, Band of Brothers had an estimated budget of 125 million dollars (Carter, 2001). It was the most expensive TV miniseries ever created at the time, and had its record later surpassed by its sister series The Pacific (Piazza, 2010). These two series typify a shift within television towards a more cinematic style. While TV and cinema were once entirely separate entities and mediums, the gap is steadily decreasing. It was previously accepted that successful television stars would make the transition to feature films. The move was seen as a promotion. Examples of this can be seen through actors like Dudley Moore, Robin Williams and Will Smith. Now, however, Television and cinema are on much more of an equal footing. Successful film star Steve Buscemi starts in the HBO series Boardwalk Empire While film writer, producer and director JJ Abrahams, has co-created the pinnacle of cinematic television through Alias, Lost and most recently Alcatraz . High budgets, however, does not classify whether or not television has become more cinematic; One could consider M.A.S.H as cinematic television but not Knight Rider. This essay will attempt to highlight multiply ways television might have become increasingly cinematic, and the credibility of this argument. As well as how the shift occurred, while using the fantasy television series Game of Thrones as a reference point. In 1982, John Ellis put forward the Glance/Gaze theory. Ellis argues that because TV screens are much smaller than cinema screens and we therefore look down on them. He further states that because we watch TV in light conditions, the regime of viewing TV is thus very different from cinema. TV does not encourage the same degree of spectator concentration( Ellis, 1982, p.1). Ellis goes in depth about sound, lighting and size, but the summary of his theory is as followed. Viewers casually glance at TV, but intently gaze at Cinema. An indicator that television could be seen as becoming increasingly cinematic is that this theory is out of date and no longer holds water. From a technical standpoint, aspect ratio plays a leading role in making something cinematic. TV shows can now be shot and displayed in 16:9 format, this also TV to appear on screen similar to cinema. While TV directors previously were not able to make something cinematic, the possibility is now t here. Looking more in depth, the emergence of HD television sets has affected cinematic television. Sharp Electronic marketer, Mike Gabriel states People can know expect a home cinema experience from the TV and technology that was once associated with the rich and famous is now accessible to homes across the country (Walker, 2008). Between 2007 and 2008, sales of 46 inch televisions rose 272%, with many predicting average television size in 2015 to be 60 inches (Walker, 2008). This is in stark contrast to the 24 inch models, Ellis highlights. The convenience of HD televisions in the home may have left many feeling a trip to the cinema unnecessary, thus increasing the demand for cinematic television. HD televisions are also capable of displaying, non-interlaced, progressive content, meaning the clarity of motion improves, matching that of films. While high end TV drama has been shot on

film for years, TV sitcoms were usually shot on Betacam. With the introduction of HD cameras, image quality, similar to that of 35 millimeter could be shot without using actual film. This has been a pivotal technical development, when it comes to post modernism and pop-culturalism is film, which will be looked at later. Aesthetics and visual imagery is pivotal within Game of Thrones, the vast landscapes, detailed interiors and well-choreographed fight scenes, all rely on the technology used to capture it. Its this thats created the shots that make Game of Thrones, cinematic television. John Ellis, in his book Seeing Things highlights a third era of Television, the era of plenty (Ellis, 2000, p. 163). The era of plenty can help describe why television could be perceived as becoming increasingly cinematic. Television is increasingly become more libertarian in its philosophy, the most recent example of this in Britain is the debate as to whether the BBC and television licenses should be mandatory. The United States has always been more developed in this regard, in line with their capitalist and corporatist ideals, Television has always been a Market driven economy in the states. Previously, as Ellis stated in his Glance/Gaze theory, television had been a source of comfort, while Films were meant to inspire us or occasionally make us think. The logic to this was that people did nt want a show that they watched in bed to preach to them about open mindedness. Controversies, like the first lesbian kiss in Brookside, or the topic of Abortion in Maude were aired during sweeps, when television networks allowed TV shows creative freedom. Further examples of this, can be seen in array of shows, including, The OC, Roseanne, One Tree Hill, Ally McBeal and LA Law. Lesbian kisses are a common TV trope used to attract viewers, as Virginia Heffernan shows in an essay for the New York Times (Heffernan, 2005). When the Television network FOX started releasing shows, completely based around controversial subject, like sex, drugs and undesirable situations, like The Simpsons and Married with Children, high ratings were received. While Fox was a new TV channel, the first season of The Simpsons was within the Top 30 rated TV shows that year (TV Ratings: 19891990). The battle for rating typifies American television, and in this lays the relevance to contemporary television becoming more cinematic. This lead to the formation of more television channels and thus a more niche market. An example of this is the History Channel, while ABC and NBC might not get satisfactory viewing figures on documentaries and therefore did not air them, people still like documentaries and its for these people new channels are created. In 1997, HBO made the decision to start producing original content. This is what led to what critics are stating as a shift towards what critics are calling cinematic television, with HBO being the leading pioneer in the field, creating shows like The Sopranos which many consider to be the best series ever made. The success of The Sopranos and The Wire having led to network stations attempting to make similar shows through the likes of Southland and The Wire. To many critics, the film industry has entered a lull. Cinema attendance in US and Canada decreased by 20% between 2010 and 2011(Verrier, Fritz, 2011). Chief executive of Sony Pictures

Entertainment, Michael Lynton has said So far there is just nothing terribly compelling about what were delivering as an industry(Verrier, Fritz, 2011). Reasons for this decline are plentiful, the current economic recession; movie tickets prices are rising, further fuelled by the more expensive 3d marking and partnered with the seemingly low quality that current films are regarded, as meant that consumers have begun looking elsewhere. People can enjoy entertainment through services such as video of demand, Netflix, Red box and a number of other services, making cinema going, somewhat of a luxury. This makes a demand for creative TV much louder, people who enjoyed heaving film making, are prepared to move to films for season long, grand story arcs. A great example of this is the extremely cinematic horror genre, finding huge success on television through shows like The Walking Dead. This is relatable to Game of Thrones, because it has what is considered some of the best writers in television. On top of that, its starts a series of high profile film starts, like Sean Bean, Mark Addy and Peter Dinklage. With comparisons to Lord of the Rings bountiful, Game of Thrones is set in a fantasy world, bet it adapted 10-15 years earlier, it is likely that it would have been made into a film rather than a series. There are a number of other questions that need to be considered when evaluating whether or not contemporary television is becoming more cinematic. The question depends on what we consider to be television. For example, TV sitcoms cannot really be considered in anyway cinematic. One could argue that since cinema has traditionally used a single camera set up, and therefore single camera sitcoms appear more movie like on screen, whereas multi-camera set ups appear more like stage plays. Beyond this however, sit-coms have no real claim to be considered cinematic unless their making a pop culture reference; Would you consider Modern Family more cinematic that Seinfeld? Furthermore HBO and AMC are effectively the only contributors towards what critics call cinematic television, bar an odd attempt from Network television. To judge a medium that harbours live news broadcasting, live sports broadcasting, sit coms and reality TV as more cinematic seems fool hardy. One could equally claim that TV is becoming more reality based. What television critics seem to be referring to in regards to contemporary television being more cinematic is the influx of critically acclaimed, higher quality shows that are being aired currently, what is known as The Golden Age of Television. But while there were plenty of acclaimed shows currently on television there are plenty of shows considered terrible, as Tori Bosch points out, while TV acting, writing and cinematography rivals the big screenreality TV is also sinking to new lows(Zocalo, 2011). Robert Thompson argues in the same article that even if we can consider contemporary television to be within a Golden Age, its nothing new, highlighting a golden age during the 1950s. He goes on to say that the current range of high quality shows, like the Sopranos, Dexter, Breaking bad and mad men are in direct link with a movement that started in 1981, describing how Hill Street Blues introduced a more cinematic interpretation of what was in the frame.

Thompson concludes there is more good TV on now that in any other time in the mediums history; there is also more bad TV than ever before. Theres just more TV, period. It would be fair to say that with the advancement of technology, Television has become more stylistic, often borrowing techniques from films. This does not mean to say that it is fair to typecast television as the new cinema, when it is most definitely a medium in its own right. John Caldwell writes that, whilst television was primarily a form of word-based rhetoric and transmissions it is shifting towards a visually based mythology (Caldwell 2005, page 2). This is a theory that definitely holds water. HBO shows like Breaking Bad often feel like movies, whilst Game of Thrones enters the realm of the fantasy genre in a way thats never really be explored before. In the fight for ratings, that is American television, a fair judgement would be that TV drama has moved away from the popular reality TV, to offer something in production value that it cant match. HBO television greatly borrows from cinema. Game of Thrones specifically incorporates Mise-en-scene in a way that was first seen in film. Every intricate detail can be seen, in the frame and the show goes much deeper than just the dialogue. The mood and action elements of the within the series, partnered with the type of shots used, for example, the dramatic close up give Game of Thrones a cinematic feel to it. However, the pacing is inherently different. Game of Thrones can often be seen as slow burning. The ability to play out the book over an entire series, allows much more character development and complicates the stories, this is ability, specific to television and applies across the board in drama, not just Game of Thrones. Its a luxury that Cinema does not have. For every claim that television is more cinematic, there is equal claim towards its uniqueness and its prerogative to be a medium in its own right. In conclusion, there are many different ways to assess whether contemporary television is becoming increasingly cinematic. Television is certainly become more stylistic, but this is a result of having greater technology like HD television and the ability to shoot in 16:9 aspect ratio. While its true that Cinema has had these ability for longer, it would be unfair to call television cinematic solely on these purposes because, this advancement is new to television and to suggest utilizing it to be taking from cinema would be unjust. One thing, new technology has allowed is for television to be more pop cultural. NBCs Community often shoot entire episodes in cinematic visuals styles, an example being western. However, this is simply homage as opposed to an adoption of an inherent style. It would be fair to say that television has been influenced by cinema, Game of Thrones being an apt example, but the reverse would also be equally fair, movies like Domino the 2012 release Project X, are based around a MTV music video philosophy. It would be true to say that there are more cinematic dramas However, this is because there is an increased competitiveness, in the industry and just more television available. Cinematic television is not necessarily new, period Dramas like Mad Men have already existed through shows like Pride and Prejudice. Cinema is declining however, and some of the best new writers are writing for television and some of the best actors are acting on television, to

put this down to TV becoming more like cinema would be unfair. In actuality this is simply television holding equal weight to cinema, when it once didnt.

Bibliography Barnow, J. (1990) Tube of Plenty. Oxford: Oxford University press. Carter, B. (2001) HBo Bets Pentagon-Style Budget on a World War II Saga, New York Times, September 3rd [Online] Available at: http://www.nytimes.com/2001/09/03/business/on-television-hbobets-pentagon-style-budget-on-a-world-war-ii-saga.html (Accessed 22 April) Caldwell, J. (1995) Excessive Style: The Crisis of Network Television, Televisuality: Style, Crisis and Authority in American Television. New Jersey, Rutgers University Press. Ellis, J.(2000) Seeing Things. London: I.B Tauris. Ellis, J. (1982) Broadcasting TV as Sound and Image, Visible Fictions. London: Routldge Piazza, J. (2010) How HBO Made the Most Expensive Mini-Series of All Time, Pop Eater, August 27th [Online]. Available at: http://www.popeater.com/2010/08/27/the-pacific-budget/ (Accessed 22 April 2012). Walker, D.(2008) Average TV size up to 60-inch by 2015 says Sharp, Tech Digest, January 2nd [Online]. Available at http://www.techdigest.tv/2008/01/average_tv_size.html (Accessed 22 April 2012) Heffernan, Virginia.(2005) Its February. Pucker Up TV Actresses., New York Times, February 10th [Online].Available at: http://query.nytimes.com/gst/fullpage.html?res=940CE5DB163AF933A25751C0A9639C8B63 (Accessed 22 April 2012) TV Ratings: 1989-1990. [Online] Available at: http://classictvhits.com/tvratings/1989.htm (Accessed 22 April 2012) Verrier, R, Fritz, B. (2011) Move industry hits ticket sales decline on the nose LA Times, March 30th [Online]. Available at: http://articles.latimes.com/2011/mar/30/business/la-fi-ct-cinemacon-20110330 (Accessed 22 April 2012) (2011) Is This The Golden Age of Television Zocalo. [Online] Available at: http://zocalopublicsquare.org/thepublicsquare/2012/01/23/is-this-the-golden-age-oftelevision/read/up-for-discussion/ (Accessed 22 April 2012)

You might also like