Serra Tinic, PhD Indiana University, MA Pennsylvania State University, BA University of Alberta

Associate Professor, Faculty of Arts - English & Film Studies Dept

Contact

Associate Professor, Faculty of Arts - English & Film Studies Dept
Email
serra.tinic@ualberta.ca
Address
3-65 Humanities Centre
11121 Saskatchewan Drive NW
Edmonton AB
T6G 2H5

Overview

Research

My research focuses on critical television studies and issues of cultural representation in TV entertainment programming from the high network era to contemporary multi-platform screen cultures. The primary emphasis of my scholarship is the analysis of the cultural negotiations that underpin the transnational production and distribution of TV dramas. My theoretical and methodological approaches are grounded in the socio-cultural debates between British and American Cultural Studies that framed the discipline of Television Studies. My research is a combination of fieldwork interviews with TV industry “creatives," televisual textual criticism, and analyses of global TV industry discourses. I am currently working on a project that examines the contemporary constraints and opportunities for culturally specific TV narratives in the transition to a “branded-channel” cable and streaming televisual environment.   

I'm happy to supervise graduate students in the areas of Critical Television Studies, Global TV and Screen Cultures, Critical Media Industry Studies, TV Production Cultures, Media and Social Theory, Cultural Studies.


Teaching

Courses I Regularly Teach:

FS 203 Television from Broadcasting to Screen Cultures

Many people argue that television has been “revolutionized” in an age of technological convergence and streaming services. Yet there remains continuity amidst the radical shifts within the television industries. This course introduces students to the history of television broadcasting and the transition to a post-network era. It also provides an overview of the foundational theories of television criticism and issues of representation of race, gender, class and sexuality in televisual storytelling. 

FS 340 Making Television: Production Cultures

A complex series of negotiations and struggles among competing interests lies behind the half-hour comedies and one-hour dramas that continue to dominate the television landscape. This course explores the cultural and industrial dimensions of the “conventional wisdoms” that television professionals rely on in an increasingly competitive industry. Topics include: casting decisions, studio expectations, formulas/genres, target audiences, channel branding, marketing and promotion, the rise of the show-runner, and the culture of the writers’ room.

FS 341 Television Genres

Genres are categories that structure the narrative dimensions and audience expectations of any television series. These categories provide both constraints and opportunities for TV showrunners. This course analyzes the aesthetic and socio-cultural implications of various TV genres. Three to four of the following genres will be covered in alternating semesters: comedy (both multi-camera and single-camera), crime procedurals, sci-fi/fantasy, dramas, anthology series, soap operas, “dramedy,” historical fiction, action-adventure, thriller/mystery, animation, “art television,” and reality TV.

FS 415 Global Television and Screen Cultures

Classical theories of international television and movie distribution tended to focus on assumptions of Hollywood’s dominance over global audience markets. However, our contemporary media environment is marked by multi-directional flows of popular entertainment that contradict “cultural imperialism” arguments. This course focuses on theories of cultural globalization as they apply to television and new screen cultures. Topics include global TV formats, domestic adaptations, transnational co-productions, and the increasing importance of diasporic audiences.  

FS 416 Analyzing Television

Television was once referred to as a “cultural forum” in which producers would develop stories that incorporated aspects of the prevailing, and competing, social ideologies of the times based on expectations of audiences tuning into the same two or three networks daily. Today’s audiences are increasingly fragmented across an exponentially growing number of channels and streaming platforms that seem to cater to niche interests. Yet TV, wherever we may find it, is still seen to have an “ideological” dimension in how it selectively represents our cultural worlds. This course focuses on the central theories of television criticism through applied analysis of genre, spectatorship, aesthetics, and narrative frameworks in TV storytelling. Specific attention is given to the ways that the art-commerce divide in the creative process frames particular discourses of gender, ethnicity, class and sexuality.


Courses

FS 100 - Introduction to Film Study

Introduction to basic formal concepts in film analysis including mise-en-scène, cinematographic properties, editing, and sound, as well as narrative qualities.

Winter Term 2021
FS 203 - Television from Broadcasting to Screen Cultures

The socio-cultural role of TV from the network to multi-platform eras with an emphasis on theories of power and representation. Prerequisite/Corequisite: FS 100.

Fall Term 2020
FS 340 - Making Television: Production Cultures

Examines the cultural and industrial dimensions of televisual production and distribution into the post-network era. Prerequisite: FS 100.

Winter Term 2021
FS 416 - Analyzing Television

Critical studies of televisual narratives, ideologies, discourses, and audience reception practices. Prerequisite: FS 100.

Fall Term 2020

Browse more courses taught by Serra Tinic

Scholarly Activities

Other - Professional Activities

I serve on the Editorial Advisory Boards for the following academic journals: Television and New Media; Popular Communication: International Journal of Media and Culture; Media Industries Journal; Communication, Culture and Critique.

Publications

"Branding the Nation: New Imperatives in Transnational Television Production and Distribution." In Hilmes, Michele, Pearson, Roberta and Hills, Matt (Eds.), Contemporary Transatlantic Television Drama. New York: Oxford University Press, Forthcoming.
Author(s): Serra Tinic
Publication Date: 2017

"SyFy/Space: Changing Genre Boundaries in the Post-Network Era." In Johnson, Derek (Ed.), The New Television Industry: Changing Channels. New York: Routledge, Forthcoming.
Author(s): Serra Tinic
Publication Date: 2017

"Where in the World is Orphan Black?: Change and Continuity in Global TV Production and Distribution."
Author(s): Serra Tinic
Publication Date: 2015
Publication: Media Industries Journal
Volume: 1
Issue: 3

"Critical Media Industry Studies: A Research Approach"
Author(s): Serra Tinic, Timothy Havens, Amanda Lotz
Publication Date: 2009
Publication: Communication, Culture and Critique
Volume: 2
Issue: 2

"Between the Public and the Private: Television Drama and Global Partnerships in the Neo-Network Era." In Turner, Graeme and Tay, Jinna (Eds.), Television Studies after TV: Understanding Television in the Post-Broadcast Era. London: Routledge, 2009
Author(s): Serra Tinic
Publication Date: 2009

On Location: Canada's Television Industry in a Global Market. Toronto: University of Toronto Press, 2005.
Author(s): Serra Tinic
Publication Date: 2005