Chinh: Conclusion Television producers should not pay attention to the preferences of the viewing public when making creative decisions. βββββ ββββββββ ββ βββ ββββββββ ββββ βββ ββββββββββββ ββββββ βββββ ββ ββββ
βββββ βββ ββββββββββ ββ βββββββββ βββ βββ βββββββ βββββββ ββ β ββββββββ ββ ββββ ββββ β βββ ββββ ββββ ββ βββββββ ββββ ββ β βββββββ βββββ ββ βββββββββ βββ ββ ββββββββ ββββββββββ ββββββ ββββ ββββββββββ βββββββββ βββ ββ ββββββββ ββββ ββββββββ ββββββββ ββββββββββββ
Chinh concludes that viewersβ preferences shouldnβt be a factor in TV producersβ creative decisions. As support, Chinh uses an analogy: great painters donβt think about the desires of museum attendees.
As Lana says, Chinh uses an analogy that isnβt analogous enough. Chinh compares the relationship between TV producers and the viewing public with the relationship between great painters and the museum-going public, but the comparison falls short. TV producers may be more directly influenced by audience preferences than painters are by museum visitors.
Analysis by ZoeLight
According to Lana, Chinh's argument ββ ββββββ ββ ββββ ββ
is circular
relies on a ββββββ ββ βββββββββ ββββ ββ ββββββββββββββββ ββ βββββββββ ββ βββββββ
infers from the ββββββ ββββββββ ββ ββ ββββββ ββββ βββ ββββββ ββ ββββββββ ββ βββββββ ββββ ββββββ
fails to consider βββ βββββββββββ ββββ ββββββββ βββ ββ ββββ βββ ββ ββββββ βββ ββββββββββββ ββββββ
offers a faulty βββββββ