One of the more difficult parts of my thesis concerned formatting my multiple correspondence analyses to be printed and understandable on paper. It is nice having a computer and being able to zoom in to see what points are clumped together. It’s very difficult to put it all on a single page using a minimalist design philosophy. The most difficult aspect for me concerned dealing with these clumps of a data points. Initially, I tried to put it all on the page without any callouts. I just moved all of the show names into the white space somewhere close to where they were originally located.
The second picture shows my first attempts at using call outs. I also multiplied all of the Y values by -1 in order to flip the chart vertically. My call outs are still pretty ham handed though. I then attempted to clarify the chart by bringing some colors in to distinguish between show, genre, and gendered roles. I also left out any of the labels in the main chart thatwre also too thick. Following that chart, I thickened the data points.
After doing that, I placed genre and gendered role labels back into the main chart even if they were in the call out. I also added a legend. It was after this chart that I began to focus on being minimalist. All colors went bye bye. I reduced the font size and data point size significantly. Call outs were less intrusive and placed in unique borders to show where they went.
Finally, the final version has increased font sizes for genres and gendered roles. The symbols were also changed to make the data pop out a little more. Along with the increased size, genres and gendered role fonts became bold. Also, there is only one call out box. The other call outs were simplified into a dotted line leading to a group of names. All of the grid lines except for the x axis were removed.
All of the charts were made using Graphpad Prism.
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.
Quality television from 1981 – 2000 still centered around comedy albeit drama had begun to gain influence during this time period which is evident from the shorter distance to other locations in the field. Family moved away from comedy somewhat. Men were more likely to produce the quality dramas as the distance is shorter to drama than for women. Action and fantasy were the two genres located most on the fringes. Comedies in general hire more writers while dramas hire more actors.
Clearly comedy is central to the field of television from 1951 – 1980. Fantasy also had a central location in the field during this time with shows such as I Dream of Jeannie, Mork and Mindy, and Bewitched. All dramas during this time period had a location in the field where it was outside the norm as a quality television genre. Likewise, actors, producers, and writers of both genders were more likely to find work in comedy. Action and adventure were located on the extreme margins of the field.
Male actors were at the very center of the field about an equal distance from both comedy and drama. Female actors were not too far away, but they were more likely to work in comedy shows.