Entertaining Politics: Satiric Television and Political by Jeffrey P. Jones

By Jeffrey P. Jones

During this thoroughly revised and up-to-date version (including 8 new chapters), Jeffrey Jones charts the evolution and maturation of political leisure tv by way of interpreting The day-by-day exhibit with Jon Stewart, The Colbert document, Politically Incorrect/Real Time with invoice Maher, and Michael Moore's television state and the grim fact. This quantity investigates how and why those indicates were principal destinations for the critique of political and monetary strength and an immense source for voters in the course of various political crises. In an age of Truthiness, pretend information and funny political speak have confirmed themselves practicable different types of substitute reporting and important ability for ascertaining fact, and within the strategy, wondering the legitimacy of stories media's function because the fundamental mediator of political existence. The publication additionally addresses the chronic claims that those courses have cynical results and create misinformed younger electorate, demonstrating as an alternative how such programming presents for an educated, lively, and significant citizenship. the recent variation takes account of the numerous alterations that experience happened in tv and political tradition considering the fact that wonderful Politics' preliminary unencumber. [Storm]

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Extra resources for Entertaining Politics: Satiric Television and Political Engagement

Sample text

Their activities of judging, critiquing, incorporating, or dismissing media narratives exemplify the bricoleurs at work, constructing meanings that ring true with their experiences. 58 Political action was seen as discursive, driven by personal values, and based on their engagement with the “characters” that media provided and with whom they identified. As such, television narratives brought politics vividly to life (and into their lives), to a place where citizens felt comfortable or emboldened enough to participate.

What they represent is the broader desire by scholars and social critics to realize a normative ideal of the citizen as a “rational-critical actor” in public life. 18 By extension, this model includes the desire to segregate various forms of media practice by citizens. That is, it advocates a strict separation between the “serious” information needed for citizens to be informed, deliberative, interrogational, and empirically reasoning thinkers, and the “entertainment” programming that is threatening because it is supposedly none of these things.

As noted by Barnhurst, citizenship is lived from the personal into the public. 53 He goes on to describe how the articulated desires between private principles, 32 Chapter 2 actions, and behaviors and a specific vision of public life became the motivation for engagement with the actors they found in the national drama. This particular engagement, in the end, tethers them to the nation and revives the democratic spirit. The description deserves to be quoted at length: The issue at the core of popular participation was whether the trust that people sought in their personal relationships could become the kind of bond they felt with citizens they did not know and, through them, with their nation and government.

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