Is reading television as a text truly the most effective method of analytical thought regarding television shows? I would have to argue that it in fact is not when used exclusively, but with added layers of analytical styles, textual analysis can provide a rich depth of understanding.
Let me begin by discussing the value of textual analysis in relation to a sampling of popular television shows. The first show I'd like to bring to attention is "Will & Grace," as it is an excellent example of the value of textual analysis. On initial viewing, the show appears to be thoroughly progressive, making the edgy decision of having a gay leading character. To further this progressive concept, the other lead character is a self-empowered female, an almost cliché of the sitcom genre. But when analyzing the show as a text, stripping away the laugh track, over-the-top performances, and feel-good endings, one is left with a much different impression of the show.
While Will's characterization is a relatively progressive one, the same cannot be said for his best friend, Jack. When one thinks of "Will & Grace," one would be remiss not to think of Jack. An over-the-top and self-absorbed gay man, Jack provides most of the shows laughs, but in the end, proves to be the antithesis of the shows supposed progressiveness. Jack embodies everything stereotypical about the gay man in popular culture. He is self-obsessed, endlessly petty, thoroughly promiscuous, and devoid of even a hint of dignity. This characterization only serves to further cement the role of the gay man both in culture and on television. But without viewing this show as a text, one would most likely never notice the relatively subtle attempt at satisfying the average audience by playing into a prevailing cultural stereotype that, in the end, compromises the very base moral of the show, that the gay man is as average a person as you or I.
Another such example of the value of textual analysis, but a much less negative one, would be a closer look at the cult British show "The Office." When one views "The Office," that person oftentimes is left scratching their heads at what exactly is happening. From the start, it is difficult to determine whether or not the events portrayed are fictional, making the show a sort of sitcom, or whether the events are "real" making the show a form of documentary. In reality, the "The Office" is not truly a documentary, but it also does not fit even slightly comfortably in the realm of sitcom. An analysis of the show by Brett Mills uses the term "docusoap" (Mills 70) to describe the show's apparent blending of styles. He explains that "The Office" takes a tongue-in-cheek approach in that the show's script is structured to nearly wink at the audience by acknowledging the fact that there is absolutely no way to capture objective reality from knowing participants as the very presence of a film crew obstructs that reality. By examining the show's text, Mills explains that "The Office" basically turns the sitcom on its head by using many of the elements of sitcom, but rather than embracing them, systematically satirizes each one of them.
However effective, textual analysis, as any singular analytical form, will have shortcomings when not used in congruence with other analytical forms. This is true on a number of levels, but I would argue none so much as the tendency to read past the script and assume knowledge of the creator's intentions that may be thoroughly inaccurate.
When thinking about the possibility of error in analytical thought in relation to subjective material, a good place to start would be an examination of Kim Akass and Janet Macabe's assessment of "The Sopranos" as being, in effect, feministic in nature. Their argument comes from the fact that all major plot movement is dictated by the show's female characters, and that depth is derived from the lead character by both his wife and female psychiatrist. On the surface, the assessment appears to be a grounded one as any who have viewed the show can attest to the authors' claim.
However, one can easily view this same plot point from a thoroughly different perspective. From the start, Tony Soprano's psychiatrist is aware of his mob connections, and she becomes more comprehensively aware as the show progresses, but she never really takes action. In reality, even though she may help progress the plot, she behaves in a manner that is both selfish and cliché. Women are perceived in popular culture as loving gossip and being in-the-know more than caring to actually solve problems, and that is exactly the cliché the psychiatrist plays into perfectly.
Also, one cannot ignore the role of Tony Soprano's wife. She is completely aware of the source of the family's income, and to their credit Akass and Macabe acknowledge this fact. However, they stop short of actually examining her complacency by offering the easy explanation that her Catholicism is partly to blame for this. It's difficult to tell whether Catholics or women should feel more insulted by this gross misrepresentation of both. In reality, Tony's wife comes across as virtually powerless to stop his actions, another cultural stereotype of women. So rather than promoting the twenty-first century woman in a way such as "Desperate Housewives," "The Sopranos" manages to throw women back in time as television has so often done.
So as is apparent, textual analysis can be an excellent tool in deriving meaning from a wide variety of sources, not the least of which is television. But textual analysis allows for a great deal of subjectivity that will inevitably lead to occasional errors in theory and thought. It seems best that textual analysis always be practiced with a degree of caution and self-awareness that will allow it to act as an excellent tool for the derivation of meaning in media.
