Abstract
This chapter introduces Bull’s study of televisual discourses on DNA in the early twenty-first century. Situating the book in relation to existing work on the gene in cinema, literature and other media, Bull engages with debates about medium specificity to explain why television is a key site for the genetic imaginary. She re-examines theoretical concepts by Horace M. Newcomb, Paul M. Hirsch and Raymond Williams, arguing that television functions as a cultural forum on genetics that stages multifaceted negotiations between long-standing essentialist ideas and new genetics. TV, she proposes, is articulating an emergent post-genomic structure of feeling. The chapter also presents Bull’s methodological approach of analysing a wide range of US and UK programmes across an extended transnational viewing strip.
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Notes
- 1.
Other television dramas that have featured clones include The Cloning of Joanna May (ITV, 1992), The X-Files (1993–2002, 2016–present), Dark Angel (Fox, 2000–2002), Battlestar Galactica (Sci Fi, 2004–2009) and Kyle XY (ABC, 2006–2009).
- 2.
This body of work has grown out of scholarship in art history examining anatomical studies and other artistic practices conducted within the context of the scientific community. More recent work across the humanities has sought to understand scientific imaging technologies as cultural expressions, not just scientific tools (Cartwright et al. 1998; Marchessault and Sawchuk 2000; van Dijck 2005; Pauwels 2005; Shteir and Lightman 2006; Smelik and Lykke 2008; Hentschel 2014; Coopmans et al. 2014). Following the publication of Lisa Cartwright’s (1995) seminal study of scientific films and health education cinema, a number of books have engaged with media representations of science and medicine (Seale 2003; King and Watson 2004; Friedman 2004; Boon 2008; Reagan et al. 2007; Smelik 2010; Ostherr 2013).
- 3.
I use medical humanities as an umbrella term for scholarly work in a wide range of fields, most prominently anthropology, sociology, history of medicine, philosophy of science, and science and technology studies.
- 4.
Ellis (2002, 79) does point out that the term indicates a process whereby ‘material is continually worried over until it is exhausted.’
- 5.
Here, it might be useful to acknowledge that Lotz’s (2004, 426) description of the current state of ‘post-network’ television differs somewhat from Ellis’s (2002) deliberations on television in what he calls the current ‘era of plenty’. Rather than describing this as structured by the narrowcast logic, Ellis emphasises that television content has increased in quantity and variety. The differences between the two perspectives can be explained, in part, by a difference in national focus. Lotz’s research focuses on North America, whereas Ellis’s theories are influenced by the British context of his scholarship. It could be argued that the redistribution of US television audiences that Lotz discusses has not yet occurred to the same extent in the UK. As this book focuses on both UK and US television, I think both perspectives are relevant and I would suggest that the cultural forum theory still can be usefully applied to the television landscape that Ellis describes (particularly considering that the Ellis’s own framework has some significant similarities to Newcomb and Hirsch’s concept, as discussed earlier).
- 6.
CSI quickly climbed in audience ratings after it began airing in 2000. Halfway through its first season, CBS transferred it from the less popular Friday 9 pm timeslot to Thursdays at 9 pm, a slot notorious as a stronghold for NBC’s ‘Must-See TV’ label. CBS President Nancy Tellem explains that this move was a gamble that turned out to be significant for the revitalisation of the network, resulting in CBS surpassing NBC and archiving ‘primetime dominance’ anew. Tellem has been quoted saying, ‘We obviously had no idea then that this show would mark the sea change, along with “Survivor”, that turned the network around’ (Richmond 2010).
- 7.
Lotz (2004, 428) compares CSI’s ratings as the most watched television show with the 1959–1960 season of Gunsmoke (CBS, 1955–1975), which drew an average rating of 40.3 million viewers. However, by contemporary standards, CSI’s ratings were very high. Nielsen Media Research listed the first season of CSI as having 17.8 million US viewers. The ratings peaked during Seasons 2–7, with between 20.34 and 26.26 million viewers. In 2002–2003, it was the highest rating show in the USA, a title that has never before been held by a crime drama. From Season 1 to Season 9, CSI was continuously within the top ten of the highest rating shows. Furthermore, it has attracted the loyalty of a wide range of demographics, allegedly appealing to both genders and a wide range of age-groups (Longworth 2002, 95; Tait 2006).
- 8.
It is, however, important to acknowledge that there is always significant diversity and opposition within an individual nation’s cultural expressions (Higson 2002, 69–72).
- 9.
For more on the textual-historical approach to television studies, I recommend John Ellis’s (2007) chapter, ‘Is it Possible to Construct a Canon of Television Programmes?: Immanent Reading Versus Textual-historicism’.
- 10.
Because of the time-consuming nature of detailed readings of such a large quantity of material, I have identified a number of more specific objects of study: thematic tropes, visual imagery and narrative devices relevant to the televisual genetic imaginary. These function as limits, or focal points, for my analytical process.
- 11.
- 12.
As has been pointed out by Alan O’Connor (2006, 79), these ideas were already implicit in The Long Revolution: ‘because the structure of feeling that interests Williams is not a known culture but the emergent culture of a new generation. The whole point is that the emergent structure of feeling is in part unconscious. It is described with a great deal of difficulty by new literature and art’ (see also: Williams 1977, 121–135 and Williams 1961, 64–65).
- 13.
Foucault traced this change in The Order of Things (2002 [1970]), 136–179) as part of his endeavour to excavate the history of the human sciences and establish a more suitable method for this type of history writing. Franklin (2000, 191–194) has provided a more detailed summary and comparison between Canguilhem and Foucault’s respective perspectives on life itself.
- 14.
Foucault (2002 [1970]), 139) elaborates that ‘Historians want to write histories of biology in the nineteenth century; but they do not realise that biology did not exist then, and that the pattern of knowledge that has been familiar to us for a hundred and fifty years is not valid for a previous period. And that, if biology was unknown, there was a very simple reason for it: that life itself did not exist. All that existed was living beings, which were viewed through grid of knowledge constituted by natural history.’
- 15.
- 16.
- 17.
Franklin’s (2000, 215–222) analysis focuses particularly on how new assisted reproductive technologies, as one such instrumentalisation, result in a drastic restructuring of genealogy that reconfigures the concepts of reproduction and kinship. Rose (2007, 15–27), in turn, is more interested in how new biomedical technologies promise to enhance and maximise biological processes, bodies and life itself, and how this changes the notion of individuality.
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Television Programmes
A Conception Story (TLC online, 2010–present).
A Killer In Me (ITV, 2007).
Battlestar Galactica (Sci Fi, 2004–2009).
The Cloning of Joanna May (ITV, 1992).
CSI: Crime Scene Investigation (CBS, 2000–2015).
CSI: Miami (CBS, 2002–2012).
CSI: NY (CBS, 2004–2013).
Dark Angel (Fox, 2000–2002).
Father Knows Best (NBC/CBS, 1954–1960).
Finding your Roots (PBS, 2012–present).
Friends (NBC, 1994–2004).
Fringe (Fox, 2008–2013).
Giuliana and Bill (Style Network/E!, 2009–2014).
The Golden Girls (NBC, 1985–1992).
Gunsmoke (CBS, 1955–1975).
Heroes (NBC, 2006–2010).
House M.D. (Fox, 2004–2012).
If … Cloning Could Cure Us (BBC, 2004).
Inside the Human Body (BBC, 2011).
Keeping Up with the Kardashians (E!, 2007–present).
Kyle XY (ABC, 2006–2009).
Life Story (Mick Jackson, BBC, 1987).
Long Lost Family (ITV, 2011–present).
The New Normal (NBC, 2012–2013).
Newsnight (BBC, 1980–present).
Nova: Life’s Greatest Miracle (PBS, 2001).
Oh Baby (Lifetime, 1998–2000).
One Big Happy (NBC, 2015).
Orphan Black (Space/CTV, 2013–2017).
Our Secret Universe: The Hidden Life of the Cell (BBC, 2012).
ReGenesis (TMN, 2004–2008).
Searching For… (OWN, 2011).
Who Do You Think You Are? (BBC, 2004–present).
The X-Files (1993–2002, 2016–present).
Film
Jurassic Park (Steven Spielberg, 1993).
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Bull, S. (2019). Introduction: A Cultural Forum on Genetics. In: Television and the Genetic Imaginary. Palgrave Studies in Science and Popular Culture. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-54847-4_1
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