On the Emergence and Diffusion of Cultural Innovations: The Cubist Aesthetic in Twenty-first Century Television Programming
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1 On the Emergence and Diffusion of Cultural Innovations: The Cubist Aesthetic in Twenty-first Century Television Programming Claude Rubinson University of Houston Downtown Houston, Texas 55th Annual Conference of the Western Social Science Association Denver, Colorado April 11, 2013
2 Sociological Theories of Cultural Forms Exogenous models emphasize the role of external conditions, usually the political-economy Ecological models operate within the cultural realm Fashion models (Simmel 1957; Blumer 1969; Lieberson 2000) Cultural Innovation models (Coleman, Katz, and Menzel 1959; Rossman 2012)
3 Cultural Innovation Model Functional argument: Cultural innovations emerge to meet a particular need. Diffusion pattern: Cultural innovations spread throughout ecosystem but do not become passé as with fashion, as long as they continue to meet a need. Key question: What function does a cultural innovation serve?
4 Cubist Television as a Cultural Innovation Cubist Television: A narrative technique that decenters audience perceptions and presents the story from multiple perspectives. Visual Cubism: Multiple perspectives are conveyed through split-screen or other visual effects (e.g., trajectory shots or flashbacks) Narrative Cubism: Multiple perspectives are conveyed through intersection storylines, often geographically or temporally dispersed. Intersection is integral to the plot.
5 The Cubist Aesthetic Picasso (1910) Portrait of Daniel-Henry Kahnweiler Picasso (1912) Violin and Grapes
6 The Cubist Television Aesthetic 24, Season 1 (2002) 24, Season 2 (2002) 24, Season 2 (2002)
7 CSI: Miami, Season 6 (2008) The Cubist Television Aesthetic
8 The Cubist Television Aesthetic Cold Case, Season 3 (2006)
9 Lost, Various Seasons ( ) The Cubist Television Aesthetic
10 The Cubist Television Aesthetic Without a Trace, Season 1 (2002) How I Met Your Mother, Season 7 (2011)
11 The Emergence of Cubist Television Analysis of top-30 ranked hour-long dramas from the 1996/ /07 U.S. Broadcast seasons
12 The Emergence of Cubist Television Analysis of top-30 ranked hour-long dramas from the 1996/ /07 U.S. Broadcast seasons 40 top-30 ranked dramas over 11 seasons 8 top-30 Cubist dramas: 24, CSI:, CSI: Miami, CSI: NY, Cold Case, Heroes, Lost, Without a Trace
13 The Popularity of Cubist Television Season Cubist Dramas Dramas in Top-30 Proportion of Top-30 Dramas 2006/ / / / / / / / / / /
14 The Popularity of Cubist Television Mean Non-Cubist Rank Mean Cubist Rank / / / / / / / / / / / Mean Non-Cubist Share Mean Cubist Share
15 The Popularity of Cubist Television 0.7 Proportion of Top-30 Programs All Dramas Conventional Dramas Cubist Dramas / / / / / / / / / / / Proportion of Top-30 Dramas / / / / / /07 Conventional Dramas Cubist Dramas
16 The Popularity of Cubist Television Media scholars emphasize slick production values, viewer distrust of the neoliberal state, and happy endings. These explanations are too particular and don't address the Cubist aesthetic itself.
17 The Popularity of Cubist Television Media scholars emphasize slick production values, viewer distrust of the neoliberal state, and happy endings. These explanations are too particular and don't address the Cubist aesthetic itself. Simmel: aesthetic forms as manifesting a society's world-view; artistic style as a way of imposing order on the world. Sorokin: sensate periods portray reality as it really is; secular subjects and naturalistic representations; sensate periods are materialistic and characterized by organic solidarity.
18 The Diffusion of Cubist Visuals Content analysis of television dramas for Cubist visual compositions (fractured backgrounds, fractured subjects, multiplied views, and circling shots)
19 The Diffusion of Cubist Visuals Content analysis of television dramas for Cubist visual compositions (fractured backgrounds, fractured subjects, multiplied views, and circling shots) Fractured Backgrounds Mean Minutes per Episode Non-Cubist Cubist Fractured Subjects Multiplied Views Circling Shots Number of Episodes
20 The Diffusion of Cubist Visuals Content analysis of television dramas for Cubist visual compositions (fractured backgrounds, fractured subjects, multiplied views, and circling shots) Fractured Backgrounds Fractured Subjects Multiplied Views Circling Shots
21 Explaining the Emergence and Diffusion Supply-side explanations: of Cubist Television Institutionalized mimicry (Bielby and Bielby 1994) Production of symbolic culture (Peterson) Demand-side explanations: Fashion cycle (Lieberson 2000) Psycho-cultural resonance (Simmel and Sorokin) Functional explanation: Cubist television as a cultural innovation added to our shared cultural repertoire (Swidler) Cubist television as a symbol that we have learned to interpret, and may therefore be deployed as needed
and Starring Jerry Bruckheimer as Picasso : The Cubist Revival in Twenty-first Century Television Programming
and Starring Jerry Bruckheimer as Picasso : The Cubist Revival in Twenty-first Century Television Programming Claude Rubinson University of Houston Downtown Houston, Texas Western Social Science Association
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