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However, little work has been done on the prevailing sub-genres within this classification. This exclusion runs parallel to the minute amount of scholarship available on mystery television, a genre identified by Ira O. Glick and Sidney J. Levy in , yet remains seemingly unmentioned, or forgotten rather, in contemporary television genre studies. Consequently, the exclusion of mystery, much like the focus on redefining a corpus of programmes into a new, broader genre Teen TV, undermines the potential of those forgotten genres to negotiate socio-cultural issues. In this case study, I identify mystery programming as one of those genres elided by another. Thus, my argument is that through undermining the importance here, cultural relevance of one genre over another, a system of genre hierarchisation emerges that is closely related to the ability or lack thereof to address socio- cultural issues.
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This exclusion runs parallel to the minute amount of scholarship available on mystery television, a genre identified by Ira O. Glick and Sidney J. Levy in , yet remains seemingly unmentioned, or forgotten rather, in contemporary television genre studies.
Consequently, the exclusion of mystery, much like the focus on redefining a corpus of programmes into a new, broader genre Teen TV, undermines the potential of those forgotten genres to negotiate socio-cultural issues. In this case study, I identify mystery programming as one of those genres elided by another.
Thus, my argument is that through undermining the importance here, cultural relevance of one genre over another, a system of genre hierarchisation emerges that is closely related to the ability or lack thereof to address socio- cultural issues.
In other words, if a particular social issue, such as teen homo sexuality, is not present in this genre but in other lesser genres, then there is limited attention paid to those genres that are actually engaging with important socio-cultural concerns.
To illustrate this, I explore Pretty Little Liars ABC, as a teen television programme because of its narrative arc surrounding teen homosexuality and how it uses mystery to explore, develop and negotiate this contemporary cultural issue. Similarly in The Sitcom , Brett Mills argues for the merits of the sitcom, which have also been often overlooked.
One of those issues is developed through a major story arc that deals with teen homo sexuality — a controversial, contemporary issue for American, and arguably Western, teen programming see Dhaenens ; Callister et al.
By undermining the importance that is, cultural relevance of one genre for another, it produces a system that hierarchises genre and thus socio- cultural issues. In other words, if a particular social issue, such as teen homo sexuality, is not present in this genre but in other lesser genres, then there is limited attention paid to genres that are actually engaging with those important contemporary concerns.
This provides an instance for the interrogation of these genres and how they work to represent teen homosexuality within and outside popular television programming. These examples highlight and epitomise the ways in which the industry and the critics understand and categorise television series into genres; but, more importantly, they further demonstrate the exclusion of mystery, both within academia and the industry, as a legitimate genre with the ability to confront or negotiate relevant cultural issues.
Their definition for contemporary television programming in the US and the UK claims that drama comes in many formats […]. Moreover, television drama now commonly embraces overlapping multi-narratives, postmodern self-consciousness […].
Casey et al. Mystery, then, if it embraces the melodramatic mode, should be said to embrace low culture or less serious-minded and even undereducated viewers and employ a low quality aesthetic. Concordantly, mystery seemingly falls to the wayside in academic scholarship surrounding the study of television genres.
Contrary to the exclusion of mystery within television scholarship, mystery has remained an important classification within popular literature and film, as suggested by John Cawelti in Mystery, Violence, and Popular Culture Of course, popular discourses, which will be discussed later in this article, formulate other approaches to genre classification; specifically, one that does not ignore mystery as a possible generic category.
Ira O. Levy provide the most succinct definition in their book Living With Television They focus more on the actions of mystery solving within the programmes themselves, rather than on the isolation of the elements of mystery in terms of generic conventions and narrative.
More importantly, nonetheless, is that the scholarship on television genres systematically avoids defining or labelling mystery as a distinctive genre, when mystery remains an important part of television broadcasting and an important genre in literature and the theatre.
Farrier touches on some of the conventions and interpretations of or reactions to soap opera, on which one may easily draw when discussing mystery. Arguably, then, this exclusion of a popular historic genre may be seen to evoke similar exclusion of the queer storyline or queer figures within popular television series and films. Only recently, within the past twenty years, have we seen a proliferation of gay, lesbian and bisexual characters in popular televisual media see Gamson ; Becker ; and Davis and Needham Emily is constantly reminded through texts and handwritten letters her love for the deceased Allison.
Yet, it also hyperbolises mystery elements in the narrative itself.
By contrast, with Emily, the viewer has no concrete evidence that she is gay, until the show uses textual features to allude to her sexual preference. Whenever Maya and Emily are seen together, they are almost always portrayed in pastel costuming or pastel lighting.
Opposite to this is the darkness that surrounds her interactions with Ben, her short-lived heterosexual romance.