[unitegallery mca_thesis]

Looking specifically at the gendered positions (squares), the first two analyses show that comedy is more highly correlated with all gendered roles. In the third picture, the gendered positions are no longer concentrated around comedy but are dispersed more evenly between comedy and drama.

If we look at the movement of drama specifically across the three analyses, we see it moves closer to the center and then crosses the dotted line in the third picture to be opposite of comedy. This suggests that drama has become equally significant as comedy over these three time periods. We can see the decline of comedy across the three periods as well. In the first picture, comedy is located well above the dotted line. In the second picture, it has dropped significantly and moved to the right before resting just above the dotted line in the third picture. If we look at other genres located near comedy, we see that these genres become less associated with comedy and more often are associated with dramas by period 3. Romance is the one genre associated with comedy that stays relatively stable between period 2 and 3, and it also happens to be where women are located in positions closer than men.

To me, these multiple correspondence analyses illustrate how drama has become a legitimate television genre from 1951-2013. This is most easily seen by focusing on the male and female producers. In period 1, male producers are much closer to comedy than female producers who are located approximately an equal distance from comedy and drama. Period 2, we see male producers move closer to drama than female producers albeit not by much. Female producers are located closer than men to romance, fantasy, and action during this time. By period 3, male producers have moved to a position where they are closest to all genres except comedy (which has been in decline) and romance.