Tuesday, October 13, 2009

Blog #2



Tom Kapinos:
Producer, Writer, and Drama Queen




























Tom Kapinos:


Tom Kapinos is best known for his work as a writer, and executive producer of the hit WB drama from the 90’s, Dawson’s Creek. He produced 93 episodes and wrote close to 30 episodes contributing to the dramatic evolution of Dawson, Joey and the gang over the 4 years he worked for the show from 1999 to 2003. Although Kapinos made a name for himself in Hollywood for his work on Dawson’s Creek mainly throughout the casts college years, he stated that working on that set was similar to a “a four-year boot camp,” and when asked to elaborate stated, “It was the four monstrous actors at the core of it.” Dispite Kapinos’ diss to main actors from the series, Katie Holmes, James Van Der Beek, Joshua Jackson and Michelle Williams, he managed in the past few years to make a comeback as a successful figure in the television world.
Kapinos evolved as a producer and most recently created his own hit television series, Californiacation, currently on its third season which started in 2007. Californiacation revolves around a blocked writer, Hank, played by David Duchovney, struggling his way through family relationships, drugs, alcohol, parenting, and girls in California. In 2008, Californiacation was nominated at the British Academy of Film and Television Arts Awards (BAFTA Awards) for Best International Series, but unfortunately did not win.
Although Dawson’s Creek and Californiacation seem to many viewers as very different television programs with conflicting themes, from a tweenage love drama, to a raunchy adult humor-based comedy, the two actually have many similar thematic motifs and mise en scene qualities which define Tom Kapinos as a television producer and writer. Kapinos started his career with Dawson’s creek during the third season of the show and twisted the storylines more toward adult content instead of the high school drama it previously focused around, and similar to the plotlines and content of his current work, Californiacation. Similar thematic motifs between the two revolve around modern family dynamics including relationships between parents and children, death of family members which evolve characters, and a overriding theme of, “the fading smile,” which Kapinos refers to as the never-ending conflict which seems to only create desire, pain, and unending suffering for the character. The mise en scene qualities which distinguish Kapino as a talented writer and producer include incorporating flashbacks to interpret conflict and evolution of characters, as well as witty and intelligent dialogue and banter between main characters.
First off, Tom Kapino consistently portrays the relationship between father and child as dysfunctional and destroyed throughout numerous episodes which he has produced and written. For example Dawson’s Creek introduces Joey Potter’s father in jail, and throughout a string of episodes, proves him to be the irresponsible, drug-dealing father he always was. Joey tries to trust her father and support him, but he constantly betrays her and the rest of the Potter family. He is an absent father and the relationship between the two is clearly destroyed. Similarly, Pacey Witter battles with his father verbally and even physically throughout seasons three and four, produced mainly by Kapinos. Pacey and his father, the local policeman, hardly see eye to eye and in the end continually to bump heads and argue. Pacey’s father shouts obscenities toward his son and discourages any dreams or aspirations he exhibits. The episode entitled, “Parental Discretion Advised,” strings together the dysfunctional relationship between Pacey and his father as well as Joey and her dad. The first two parts of this episode can be viewed below at






In Californiacation, the father-child dynamics are a bit different. Although the father figure Hank portays seems like a relatively normal situation, It is clear that Becca, Hank’s only daughter, continually acts much more mature and responsible while Hank is trapped in negative situations for example, participating in careless sexual escapades tied up with drugs and alcohol. In episode five of the first season of Californiacation, Becca calls Hank in the middle of the night because she, “got a feeling that he couldn’t sleep.” Becca speaks softly to him and calms his nerves after an interesting night Hank got himself caught up in with a hooker, paying for sex. Hank constantly turns to his daughter to calm himself and check back into reality. Becca clearly feels the need to protect his father and look after his well-being, opposite of a typical parent-child relationship. Californiacation also highlights another disfuctional relationship between parent and child between Mia and her father Bill. Within the series, Bill, Hank’s ex-lover’s fiancĂ©, deals with Hank’s escapades along with the rest of the family. Bill and his daughter Mia’s relationship hardly exists at all. Mia, a sixteen year old still in high school, fooled around with Hank and gets herself into situations way over head, such as three-sums with coke addicts and older men, while her father continually views her as a sweet, innocent angel. Bill and Mia are never seen speaking or doing things together except for when the entire family is together. Bill, although not physically separated from his faughter, is just as much as an absent father as Mr. Potter is to Joey Potter. The dysfunctional parental and child relationships within both Californiacation and Dawson’s Creek evolve into common themes within the works of Tom Kapinos.


The father-figure is used again by Tom Kapinos, in both Dawson’s Creek and Californiacation, as he continuously creates a storyline around the death of the main character’s father which spins the main characters, Hank and Dawson, into a whirlwind of negative repercussions which adds to the creation of the main characters, “new identity.” Kapinos also uses this storyline to portray a significant mise en scene quality of using flashbacks to distinguish the new identity from the old identity. In the first season of Californiacation, episode 8 titled, California Son, Kapinos uses intense emotional flashbacks of the last encounters between the two father and son before the death of Hank’s father. The flashbacks examine the resentment Hank feels towards his father and the misunderstandings between the two. The repercussions of his fathers’ death are clearly seen through the different lifestyle Hank had while his father was alive and now that he is dead. After the death, Hank lost his wife and “perfect” family by abusing drugs and alcohol, lost all motivation as a successful writer, and lost any chance of getting his family back by lying, cheating, and constantly engaging in random and meaningless sex.
Similarly, the death of the Dawson’s father in Dawson’s Creek spins his life out of control, first by dropping out of college and abandoning all dreams and aspirations of becoming a successful movie producer. Dawson’s relationships with long-time pals Joey Potter and Pacey Witter wither to practically nothing and Dawson is left lonely, confused, and stressed without the straight path he once envisioned. In the episode entitled, “The Longest Goodbye,” Dawson prepares for his fathers’ funeral, and feels the pressure of how his father’s death will negatively affect his family, as his mother and baby sister Lilly are left to fend for themselves. Kapinos uses this opportunity to cut back into Dawson’s old identity, on a successful path to living out his dreams as a movie producer by using flashbacks of unique father and son moments between the two, beginning with Mr. Leary giving Dawson his first video camera. This scene shows Dawson’s father encouraging him and the audience sees all his dreams shatter through the death of Mr. Leary. The past obviously holds huge bearings on the types of people Dawson and Hank evolve into throughout the rest of the series. As a producer, Kapinos made a name for himself by portraying these similar conflicts of death as a significant character transformer by using flashbacks and jumping from past to present creating a distinct difference between the old identity and the new. (This link below shows a flashback to a moment between Dawson and his father when he was still alive.)



Finally, the “fading smile” Kapinos identifies within his plot easily refers to the complex relationship between Dawson and Joey within Dawson’s Creek, and Hank and Karen in Californiacation. Easily, Dawson and Joey are portrayed throughout the entire running of the show, as the happy next-door-neighbor couple that never seems to work out in the end. The audience constantly pulls for the couple to be reunited and it simply does not happen. The audience is able to see the two falling more and more out of sync throughout the college years of the show which was mainly produced by Tom Kapinos. Kapinos uses dialogue and banter between the two lovers as well. Dialogue, defined by dictionary.com as, “the conversation between characters in a novel, drama, etc. and also an exchange of ideas or opinions on a particular issue, with a view to reaching an amicable agreement or settlement,” allows for Dawson and Joey to talk about their relationship openly and discuss almost anything. Consequently, the audience is able to see how comfortable and compatible they are for each other, and at the same time have so many dynamic and complicated conflicts which block them from being together in the end. Kapinos is able to show the tight-knit relationship between Joey and Dawson through this type of back and forth constant flowing conversation which is depicted in almost every episode. Hank depends on Karen for approval of his writing and also many important lifestyle choices including parenting, and career decisions, and the dialogue between the two acts as a reasoning device for him while the audience is allowed to see deep into the relationship between the two and the forces keeping them apart. Hank and his ex-lover and mother of his daughter, Becca, represent the “fading smile” relationship in a sense that the audience constantly pulls for them to work out their issues and in the end be together, but the consequences of Hank’s actions and the differences between the two appear too strong to overcome. The dialogue between Hank and Karen portrays the power struggle between the two and always leaves Karen with a smirk on her face and Hank alone in the dark with a door slammed in his face. Hank constantly tries to use his charming voice and poetic phrases to win Karen’s heart back, yet the conflicts between them have left wounds that simply cannot be mended.

The thematic motifs and mise en scene qualities that shape Tom Kapinos as a producer and writer have appeared throughout both Dawson’s Creek as well as Californiacation which as set his work apart from others. The importance of family, more specifically the relationship between parent and child obviously proves itself as a major important cultural theme to Kapinos as well as the death of a parent and the consequences that death has on the formation of a person. Through the continuous battle of reality, conflicts, desire and passion, Kapinos is able to formulate the, “fading smile,” he is most known for throughout his works. The cultural motifs and themes are thus able to formulate the mise en scene qualities which Kapinos uses within both Dawson’s Creek as well as Californication such as flashbacks and constant dialogue.

References:

"Dawson’s Creek." Episode Guide.com. Web. 14 Oct. 2009. http://www.episodeguides.com/scripts/getshow.php?s=dawson&p=index&m=.


"Tom Kapinos." IMDB: The Internet Movie Database. Web. 10 Oct. 2009. http://www.imdb.com/name/nm1093513/.


"Tom Kapinos." TV Guide. 27 June 2008. Web. 14 Oct. 2009. http://www.tvguide.com/celebrities/tom-kapinos/289559.


YouTube: Broadcast Yourself. Web. 14 Oct. 2009. .









Wednesday, September 9, 2009

Television: An Invisible Necessity (Blog 1)


Television to most people is, like the title of this blog, an invisible necessity. We watch television to fill an hour of our day, to keep up with our favorite program and characters, to relax and drift to sleep, and to socialize with friends and family. Butler, in his article titled, “Television’s Ebb and Flow in the Post network Era,” states that, “television remains the principle medium through which most people obtain visual entertainment and information.” In this sense, television has become a major impact on society today and is shaping our culture drastically. We use media and television almost every day and it’s a critics job is to make sense of the ways this form of media relates to our culture as who we are as a society as well as individuals by the shows we watch and how and why information is obtained and reflected in society.

#1. What are your goals for doing TV criticism?

A critic’s goal should not be to please everyone; its impossible. A critics goal, stated by Gronbeck should be, “to stimulate a dialogue about important matters,” and also, “to be relevant to the lives of the readers, listeners, and viewers.” A critic should want to relate to his/her audience in a sense that the reader understands not only what is being portrayed as good or bad, but also how the text is related to our culture today and the consequences emerging out of the text itself as it reflects events and phenomenon’s occurring within society. Culture shapes who we are as a society as well as on an individual level. It’s the critic’s job to connect the dots for the general viewer.

Similar to Gronbeck’s views of the goals of criticism, O’Donnell adds that, “as a critic, you become a ‘transformer’ capable of generating new understanding and new awareness in the minds of other television viewers.” Television today has many motives, goals, and standards of its own and a television critic’s goal should include channeling these goals for the viewer and creating meanings or value blind to the viewers prior to reading the critique. Polysemy, explained by Butler as simply having multiple meanings is a concept that allows a critic to create new meanings seen through a foreign lens and give viewers another perspective of the meanings transpiring from the program. The common opinion that all television is bad can also be argued by a critic if he/she is able to inform viewers of new understandings and how to relate them to their own lives using polysemy and creating a number of meaningful interpretations and readings of a text.

#2. What is your view of, or relationship to, television as an object of study?

Recently, since I no longer spend a majority of my time addicted to television, I have started to see television from a different aspect than before. I find myself thinking about not only what is happening on the screen in front of me, but about the production, directing, and acting perspective that took place prior to the airing of the television show. Things like product placement, and different advertisement opportunities in the media shape how I currently view a television show dramatically. I have learned that a show is never just simply part of a series or a flip of a switch but something much more than that. O’Donnell, in his article titled, “the work of a critic,” talks about how being critical of the production side of a program can, “enable us to see and hear more details, to anticipate certain moments, to ponder certain questions, and to recognize special qualities.”

I took a film class during high school and became very interested in the production side of television and its extreme reflection on culture and society. O’Donnell talks about the reflection television programming has on society as she gives a great example of how the Columbine shooting spurred a number of other television shows to portray the reality of school shootings happening around the U.S. These programs, “had stories about school shootings, reflecting the real-life horror of school violence and students being gunned down by their classmates,” including shows such as Third Watch, and Law and Order. A serious cultural epidemic of school shootings was occurring at this time and television was able to portray that as well as call attention to this problem by bringing these issues straight into the household of the American population.

This idea of a mass media reflecting social problems and creeping into the homes of millions of Americans has the power to direct the population to what issues we view as important and what is not. The aspects which make television differ from past forms of mass media include, “electronic, visual, and mass/domestic character” (Corner 4). These properties, defined by Corner in the article, “Introduction: Research and Criticism,” addresses the issues of politics within television and criticism. De-democratization of our society is occurring as television highlights for us what we should regard as important and useful information.

#3. How do you intend to relate to your readers/other viewers?

Relating to the audience can be one of the most difficult aspects of creating what “good criticism” is viewed as. If the critic receives no praise or following for her critiques, the work thus becomes useless. Gronbeck makes an exceptional point describing that, “texts are in one sense the ways that different peoples ‘read a work’- especially how they examine parts of the works because of their particular interests. Texts are constructed out of verbal, visual, written, oral, pictorial, and other sorts of codes.” This quote makes the argument that not everyone will agree or disagree with the texts any given critic writes; however acknowledging certain cultural codes and behavioral norms can be the first step to relating to an audience and capturing their trust.

The fact that different discourses, defined by Butler as, “a language or system of representation that has developed socially in order to make and circulate a coherent set of meanings about an important topic area,” forces viewers to draw on their own backgrounds and things such as, “schooling, religion, upbringing, class, and gender,” to make choices and meanings dealing with the things they watch on television. This creates a struggle to relate to a variety and mass amount of people for the critic. I plan to use my background as a Catholic female with a middle class background and strong family morals to relate to a group of viewers similar to myself. The meanings and understandings produced by my criticism will be most useful to people viewing the shows with a similar lens.

The invisible necessity of television as an important construct of not only our society but a culture as a whole is what makes me as a critic important. The reflections between TV and culture highlight the important things in our lives that shape the way we live day to day. The discovery of these connections is fascinating as a critic and it is my job to connect a number of meanings and fill in the dots between how we view television as a model of society so that new understandings can be discovered by not only myself but by the general public to spur new and forthcoming meanings and interpretations.

References
Brunsdon, C. (1993). Identity in feminist television criticism. Media, Culture and Society, 15: 309-320.


Butler, J. (2002). Television: Critical Methods and Applications (2nd ed). Mahwah, NJ: Lawrence Erlbaum Associates.


Corner, J. (1999). Critical Ideas in Television Studies. New York: Oxford University Press.


O’Donnell, V. (2007). Television Criticism. New York: Sage.


Sillars, M. O. and Gronbeck, B. E. (2001). Communication Criticism: Rhetoric, Social Codes, Cultural Studies. Prospect Heights, IL: Waveland Press.