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Quality television’s ‘status... is made possible only by the context of premium,
subscription viewing of television in a manner more closely allied with the detailed
attention paid to film than with the sporadic and flickering attention, disrupted by
advertising, that characterise television viewing in an earlier context of production...
[Quality television] strives for the immersive viewing experience more often attributed
to film’ (Sheryl Vint, The Wire [Detroit: Wayne State University Press, 2013], 21).
With reference to this quotation and one series, consider how quality television
encourages particular viewing practices. In what ways does its narrative structure and
aesthetic composition demand this kind of viewing? What kinds of technology might
facilitate this kind of ‘immersive viewing experience’?
Series Chosen: The Wire (David Simon, 2002)
In this essay, I will be questioning why David Simon’s The Wire (HBO, 2002), a prime
example of quality television within an American context, must, "strive for the immersive
viewing experience" (Vint, 21) Sheyrl Vint references to, in order for viewers to understand
the complexity of the narrative. Specifically, I will be analysing the extent to which The
Wire possesses the power to control the behaviour of its viewers, whether promoting or
resisting narrative engagement, through its complex structure and visual approach.
Throughout this essay, my argument will be framed with reference to Vint and further
scholars’ analysis on the conventional tropes of quality television in order to understand what
this style of television programming means, entails and demands. In describing quality
television, Robert J. Thompson has asserted how “Quality TV is best defined by what it is
not. It is not ‘regular’ TV” (Thompson, 13.) This directly correlates to HBO’s well-known
slogan “It’s not TV, its HBO” which promoted the cable networks high quality content and
original programming. In its aim to distinguish itself from other television networks, HBO’s
Quality television’s ‘status... is made possible only by the context of premium,
subscription viewing of television in a manner more closely allied with the detailed
attention paid to film than with the sporadic and flickering attention, disrupted by
advertising, that characterise television viewing in an earlier context of production...
[Quality television] strives for the immersive viewing experience more often attributed
to film’ (Sheryl Vint, The Wire [Detroit: Wayne State University Press, 2013], 21).
With reference to this quotation and one series, consider how quality television
encourages particular viewing practices. In what ways does its narrative structure and
aesthetic composition demand this kind of viewing? What kinds of technology might
facilitate this kind of ‘immersive viewing experience’?
Series Chosen: The Wire (David Simon, 2002)
In this essay, I will be questioning why David Simon’s The Wire (HBO, 2002), a prime
example of quality television within an American context, must, "strive for the immersive
viewing experience" (Vint, 21) Sheyrl Vint references to, in order for viewers to understand
the complexity of the narrative. Specifically, I will be analysing the extent to which The
Wire possesses the power to control the behaviour of its viewers, whether promoting or
resisting narrative engagement, through its complex structure and visual approach.
Throughout this essay, my argument will be framed with reference to Vint and further
scholars’ analysis on the conventional tropes of quality television in order to understand what
this style of television programming means, entails and demands. In describing quality
television, Robert J. Thompson has asserted how “Quality TV is best defined by what it is
not. It is not ‘regular’ TV” (Thompson, 13.) This directly correlates to HBO’s well-known
slogan “It’s not TV, its HBO” which promoted the cable networks high quality content and
original programming. In its aim to distinguish itself from other television networks, HBO’s
