Welcome

Jeremy ButlerWelcome to the online home for Jeremy Butler.

I’ve taught television, film, and new media courses since 1977–at Northwestern University, the University of Alabama and the University of Arizona. To support my television courses, I wrote the textbook, Television: Critical Methods and Applications–now in its fourth edition. (Read more about teaching activities.)

My latest book project, Television Style, was published by Routledge in December 2009.

I’ve edited one anthology, Star Texts: Image and Performance in Film and Television, and published articles on Mad MenER, Roseanne, Miami Vice, Imitation of Life, soap opera, the sitcom, and other topics in journals such as Cinema Journal, Journal of Film and Video, and Screen. (Read more about research activities.)

For some time now I’ve been active in online educational resources for film/TV studies. I created Screen-L and ScreenSite, two of the earliest Internet resources for film/TV teachers/students; and I served as the Society for Cinema and Media Studies’ first information technology officer. (Read more about online and media projects.)

In addition to my duties as a film/TV educator, I also host a weekly radio program, All Things Acoustic, on Alabama Public Radio.

Recent Posts

New Article on Statistical Analysis of Television Style

A new piece I wrote on the statistical analysis of television editing has been accepted by Cinema Journal and is forthcoming in its fall 2014 issue:

  • Butler, Jeremy G. “Statistical Analysis of Television Style: What Can Numbers Tell Us About TV Editing?” Cinema Journal 54, no. 1 (forthcoming).

A companion Website with full-sized, color illustrations and the data sets used in my analysis is now online:

Here’s the article’s abstract:

This article assays the value of splicing together humanities-based analysis of television style with digitally generated statistical data. The editing style of the situation comedy, Happy Days (1974-1984), provides an intriguing test case for such analyses’ utility as it made a radical shift in its mode of production after its second season—switching from single-camera to multiple-camera (with a studio audience). Using data collected on ShotLogger.org, this article measures the cutting rates correlated with each mode of production and finds there is a statistically significant difference between the two. Additionally, this article examines the general acceleration of cutting rates on American television since 1951 and it comes to a perhaps surprising conclusion about the impact of individual editors upon television style.

 

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