Cultural Criticism
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Binge-Reviews? the Shifting Temporalities of Contemporary TV Criticism
Old Dominion University ODU Digital Commons Communication & Theatre Arts Faculty Communication & Theatre Arts Publications 2016 Binge-Reviews? The hiS fting Temporalities of Contemporary TV Criticism Myles McNutt Old Dominion University Follow this and additional works at: https://digitalcommons.odu.edu/communication_fac_pubs Part of the Critical and Cultural Studies Commons, and the Publishing Commons Repository Citation McNutt, Myles, "Binge-Reviews? The hiS fting Temporalities of Contemporary TV Criticism" (2016). Communication & Theatre Arts Faculty Publications. 15. https://digitalcommons.odu.edu/communication_fac_pubs/15 Original Publication Citation McNutt, M. (2016). Binge-Reviews? The hiS fting Temporalities of Contemporary TV Criticism. Film Criticism, 40(1), 1-4. doi: 10.3998/fc.13761232.0040.120 This Article is brought to you for free and open access by the Communication & Theatre Arts at ODU Digital Commons. It has been accepted for inclusion in Communication & Theatre Arts Faculty Publications by an authorized administrator of ODU Digital Commons. For more information, please contact [email protected]. FILM CRITICISM Binge-Reviews? The Shifting Temporalities of Contemporary TV Criticism Myles McNutt Skip other details (including permanent urls, DOI, citation information) Volume 40, Issue 1, January 2016 DOI: http://dx.doi.org/10.3998/fc.13761232.0040.120 Permissions When should television criticism happen? The answer used to be pretty simple for critics: reviews were published before a series premiered, with daily or -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
Preston Sturges Authenticity of the Image and of Testimonial “In-Person Reenactment” from Familiar and Big Time
r In Person: Margulies’s book is a vivid and wide-ranging in Postwar account of this type of re-enactment, offering Reenactment insight with implications that stretch across Cinema and Contemporary documentary and cinema history as a whole. New York: Oxford by Ivone Margulies. An associate professor in film and media at University Press, 2019. 227 pp., illus. Hunter College, author of a book on Chantal paperback: $29.95. Akerman (Nothing Happens: Chantal Alter- man’s Hyperrealisr Everyday [Duke Universtty From Nanook’s apocryphal seal hunt to Press, 1996]), and editor of Rites of Realistn: .., the kitschy dramatizations of an Unsolved Essays on Corporeal Cinema (Duke Universrty Preston _._.- Mysteries episode, re-enactment has been a Press, 2003), Margulies’s scholarship has long . uuivud consistent formal gambit throughout docu- been invested in documentary, French cine- Sturges mentanj's history. Over the years, as well, the ma, and the presence of the body on screen. sealants restaging of past events with nonprofessional The present volume seems a culmination of The Last «n-um actors has fallen in and out of fashion—some- her long engagement with these subjects. out times considered standard practice, sometimes Deftly argued and intricately constructed, Years of ._._...,..-- seen as documentary’s béte noire. Indeed, it’s In Person compn‘ses seven chapters that track, \nh \a-m.‘ 4...: IM- a...“ Inna-inww...“ something of an old film history chestnut that in roughly chronological order, the appear- Hollywood's the great wave of ve’rité and direct-cinema ances of in-person re-enactment in nonfiction First Writer-Director films of the 19505 and 19605 used their obser~ cinema from WWII to the present—from vational mode to reject it outright, expunging Orson Welles’s 1942 short film Four Men in a Nick Smedley and Tom Sturges the practice from nonfiction cinema in favor Raft (from his aborted, post-Ambersons of their apparently more “immediate” style. -
The Art of Talking Back to the Screen with Movie Critic Wesley Morris - November 7, 2014 - Newyork.Com 11/14/16, 4:47 PM
The Art of Talking Back to the Screen with Movie Critic Wesley Morris - November 7, 2014 - NewYork.com 11/14/16, 4:47 PM HOME VISITING NEW YORK LIVING IN NEW YORK Search BROADWAY ▼ HOTELS THINGS TO DO TOURS & ATTRACTIONS EVENTS RESTAURANTS JOBS HOME › JOBS › Everything Jobs › The Art of Talking Back to the Screen with Movie C... REAL ESTATE HOT 5 COOL JOB Q&A The Art of Talking Back to the Screen with READ MORE ABOUT Movie Critic Wesley Morris Pulitzer Prize winner Wesley Morris takes us behind the scenes of his job as a » Broadway » Attractions movie critic » Tours » Restaurants Hotels Real Estate November 7, 2014, Craigh Barboza » » GET WEEKLY 2 Share Like 109 Share Tweet Jobs » NEWS AND One of the most frequent questions people ask Wesley Morris is how can he do his job and still enjoy EXCLUSIVE OFFERS going to the movies. Morris is a Pulitzer Prize-winning movie critic who writes for Grantland, a pop Enter your e-mail address SUBSCRIBE culture and sports website in New York. The perception is that because he is paid to intellectualize his responses to movies, he couldn’t possibly derive any pleasure from them. “They want to know if I turn my brain off,” says Morris, scrunching his eyebrows together. “I’ve never wished that I could turn my brain off while watching a movie.” Movie Critic Wesley Morris What would be the point? The reason Morris is as good a critic as he is (and why people care about what he thinks) is that he sees things others miss, and this knowledge heightens his appreciation of certain aspects of a film. -
The New York Times 2014 Innovation Report
Innovation March 24, 2014 Executive Summary Innovation March 24, 2014 2 Executive Summary Introduction and Flipboard often get more traffic from Times journalism than we do. The New York Times is winning at journalism. Of all In contrast, over the last year The Times has the challenges facing a media company in the digi- watched readership fall significantly. Not only is the tal age, producing great journalism is the hardest. audience on our website shrinking but our audience Our daily report is deep, broad, smart and engaging on our smartphone apps has dipped, an extremely — and we’ve got a huge lead over the competition. worrying sign on a growing platform. At the same time, we are falling behind in a sec- Our core mission remains producing the world’s ond critical area: the art and science of getting our best journalism. But with the endless upheaval journalism to readers. We have always cared about in technology, reader habits and the entire busi- the reach and impact of our work, but we haven’t ness model, The Times needs to pursue smart new done enough to crack that code in the digital era. strategies for growing our audience. The urgency is This is where our competitors are pushing ahead only growing because digital media is getting more of us. The Washington Post and The Wall Street crowded, better funded and far more innovative. Journal have announced aggressive moves in re- The first section of this report explores in detail cent months to remake themselves for this age. First the need for the newsroom to take the lead in get- Look Media and Vox Media are creating newsrooms ting more readers to spend more time reading more custom-built for digital. -
The Seven Dirty Words You Should Be Allowed to Say on Television
Washington University Law Review Volume 92 Issue 5 2015 The Seven Dirty Words You Should Be Allowed to Say on Television Ellen Alexandra Eichner Washington University School of Law Follow this and additional works at: https://openscholarship.wustl.edu/law_lawreview Part of the Communications Law Commons, Entertainment, Arts, and Sports Law Commons, and the First Amendment Commons Recommended Citation Ellen Alexandra Eichner, The Seven Dirty Words You Should Be Allowed to Say on Television, 92 WASH. U. L. REV. 1353 (2015). Available at: https://openscholarship.wustl.edu/law_lawreview/vol92/iss5/9 This Note is brought to you for free and open access by the Law School at Washington University Open Scholarship. It has been accepted for inclusion in Washington University Law Review by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. THE SEVEN DIRTY WORDS YOU SHOULD BE ALLOWED TO SAY ON TELEVISION I. INTRODUCTION Shit, piss, fuck, cunt, cocksucker, motherfucker, and tits.1 For any American who has turned on his or her television since 1978 and tuned into one of the traditional broadcast networks—ABC, NBC, CBS, or Fox—these seven words have been conspicuously absent from broadcasting. Confusingly, with a flip of the remote over to a premium cable television station, these seven words may all occur in quick succession on one television show.2 When one of them does happen to make it to air on a broadcast network, it often becomes the source of an astronomical fine from the Federal Communications Commission (“FCC”) and years of litigation between the network and the federal government.3 A recent case resulted in a huge victory for broadcasters. -
OCTOBER 2017 PRESIDENT's MESSAGE Melissa Tice We Kicked
OCTOBER 2017 PRESIDENT’S MESSAGE Melissa Tice We kicked off our first meeting with a wonderful program learning about the musical history of Barbershop Quartets and enjoyed the lovely music and upbeat sounds of the Morris Music Men. I look forward to hearing the upcoming presentation by local Scotch Plains resident Alan Sepinwall, TV reviewer and writer at our October 23rd program. Remember to invite a friend or neighbor to come; it is always great to have a full house for the speaker. I want to thank Joan Skubish and Meril Davies for hosting a nice Open House before the September general meeting and to celebrate our two new members that joined that evening, Barbara Catterall and Luba Schnable. Welcome Barbara and Luba! Please make every effort to introduce yourself to these lovely ladies. The Calendars are out and look GREAT! Hopefully, you all have your calendars and are selling them to family, friends and neighbors. Make sure to point out our next few programs and encourage them to attend. If you need yours or more to sell, please contact Jean Naugle. Please help out with the upcoming College Night. Sign-up sheets will be circulating at the General meeting or you can call Sue Spirko or Rhonda Riesenberg regarding volunteer opportunities or Pat Goldberg regarding refreshment donations. This night is such a fantastic opportunity for local students and parents to get information regarding colleges to help them with the daunting process of deciding one’s next steps in pursuit of higher education. We should be very proud we organize and support this activity for our Community. -
Quality TV As Liberal TV
Michael z. Newman and other cultural productions similarly blessed with prestige. Quality TV as Liberal TV This essay will sketch a historical outline of this tradition of Quality TV as libera l TV, ident ifying its sources and examining its Alongside so many changes in American television over its years as. expressions of an ideology. a mass medium there have also been continuit ies. These are easily) In doing so I am choosing a handful of examples of emblematic obscured by the presentist "Golden Age" rhetoric of popular critics or influential texts over this timespan rather than canvassing in the early twenty -first century.1One such continuity, spanning ; all of the telev isual representations one might associate with several aesthetic and industrial eras, is a trad ition of quality in, liberalism. There will necessarily be a provisional character scripted prime-time series, which is intertwined with a tradition to my discussion, as the topic is big enough for a much longer of liberal politics in elite urban American culture. 2 More than work. Numerpus details remain to be filled in, but I hope that the thirty years ago, Jane Feuer argued that "quality TV is liberal TV."3 connections will at least seem apposite, and the liberalism of She was talking about programs like The Mary Tyler Moore Show . American Quality TV worthy of further critical elaboration. and WKRPin Cincinnati, and using "quality" not simply to judge > Unlike more established, older art forms, televis ion has relative value but to mark off a group of programs recognizable struggled to be accepted as legitimate culture worth discussing by producers and audiences alike as having prestige.4 If Quality in aesthetic terms in the first place. -
10 / National Identity and Global Television: Re-Making Australia's
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Humanities Commons The London Film & Media Reader 4 10 / National Identity and Global Television: Re-making Australia’s Rake for American Audiences K. Brenna Wardell Trans-national TV and Globalisation: The Re-make This essay considers questions of Australian and American identity, focusing on the U.S. remake of the Australian TV series Rake in order to unpack ideas to do with national and trans-national media. The U.S. Rake, which was launched in January 2014 by Fox Broadcasting, is of interest because the series complicates long-standing trends, including U.S. media dominance and the British heritage of most foreign re-makes on U.S. television. The U.S. Rake’s short, tumultuous history also exemplifies the diverse challenges of re-makes, many of which have had limited success or have failed completely, such as the U.S. re-makes (NBC, 2008-2009; NBC, 2003) of the Australian Kath & Kim (ABC, 2002-2005) and the British series Coupling (BBC2, 2000-2004). 95 The London Film & Media Reader 4 Given the voracious desire and disruptive behaviour traditionally associated with the figure of the rake, transferring the original’s frank tone and content to the U.S proved delicate work, complicated by the relatively restrictive nature of American network broadcasting, although the direct involvement of the original’s creators, particularly Peter Duncan, suggests a close connection between the Rakes. Key differences are evident in the broadcasters (the commercial Fox in the U.S.; the government-funded ABC1 in Australia); cast (Greg Kinnear in the U.S.; Richard Roxburgh in Australia); the nature of their respective television audiences; and the dissimilar rules governing each nation’s TV content. -
Gender, Race and Popular Culture a Dissertation Submitted In
UNIVERSITY OF CALIFORNIA RIVERSIDE Feminism Without Feminists: Gender, Race and Popular Culture A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Sociology by Linda Jin Kim August 2010 Dissertation Committee: Dr. Toby Miller, Co-Chairperson Dr. Ellen Reese, Co-Chairperson Dr. Scott Coltrane Dr. Scott Brooks Copyright by Linda Jin Kim 2010 The Dissertation of Linda Jin Kim is approved: _____________________________________________________ _____________________________________________________ _____________________________________________________ Committee Co-Chairperson _____________________________________________________ Committee Co-Chairperson University of California, Riverside ACKNOWLEDGEMENT This dissertation has truly been a labor of love. I am blessed to have amazing faculty whom I admire and respect on my committee. My mentor, Toby Miller, has been with me since the inception of this project and has never failed in challenging me to expand my intellectual horizons and to sharpen my critical thinking skills. Ellen Reese, Scott Coltrane, and Scott Brooks have equally been significant figures throughout the various phases of my academic career. I would be remiss not to mention Karen Pyke and Jane Ward. Collectively, they have offered me invaluable wisdom, advice, and encouragement. I also wish to express gratitude to my meticulous research assistants, Allie Green, Alan Truong, and Angela Wagner, for transcribing the bulk of my interviews. In addition, I clocked in a lot of hours at my two local coffee shops on Ocean Park Boulevard and on Colorado Avenue (“my virtual mobile offices”). I have probably spent more face time with the baristas there than anyone else while I have been dissertating. I thank all of them, especially Alex, Bastian, and Steven. -
Reviewers' Responses to Agnosticism in Bill Maher's Religulous
Boise State University ScholarWorks Communication Faculty Publications and Department of Communication Presentations 4-1-2011 Bombing at the Box Office: Reviewers’ Responses to Agnosticism in Bill Maher’s Religulous Rick Clifton Moore Boise State University This is an electronic version of an article published in Journal of Media and Religion, Volume 10, Issue 2, 91-112. Journal of Media and Religion is available online at: http://www.informaworld.com. DOI: 10.1080/15348423.2011.572440 This is an electronic version of an article published in Journal of Media & Religion, Volume 10, Issue 2, 91-112. Journal of Media & Religion is available online at: http://www.informaworld.com. DOI: 10.1080/15348423.2011.572440 Bombing at the Box Office: Reviewers’ Responses to Agnosticism in Bill Maher’s Religulous Rick Clifton Moore Boise State University Abstract This paper examines reviewers’ reactions to Bill Maher’s documentary film Religulous as a way of beginning a discussion of media and religious hegemony. Hegemony theory posits that dominant ideology typically trumps contesting views, even when the latter do manage to leak through the system. Given this, one might expect that film reviewers serve as a second line of defense for entrenched worldviews. Here, however, a thematic analysis of reviews from major national newspapers reveals that critics provided only slight support to traditional religious views Maher challenges in his filmic plea for agnosticism. There is in the world of comedy a plot structure that has traditionally been referred to with the non-inclusive label, “Character gets hoisted with his own petard.” Most of us can envision this element by remembering the classic Warner Brothers Roadrunner and Coyote cartoons. -
Jews and Hollywood
From Shtetl to Stardom: Jews and Hollywood The Jewish Role in American Life An Annual Review of the Casden Institute for the Study of the Jewish Role in American Life From Shtetl to Stardom: Jews and Hollywood The Jewish Role in American Life An Annual Review of the Casden Institute for the Study of the Jewish Role in American Life Volume 14 Steven J. Ross, Editor Michael Renov and Vincent Brook, Guest Editors Lisa Ansell, Associate Editor Published by the Purdue University Press for the USC Casden Institute for the Study of the Jewish Role in American Life © 2017 University of Southern California Casden Institute for the Study of the Jewish Role in American Life. All rights reserved. Production Editor, Marilyn Lundberg Cover photo supplied by Thomas Wolf, www.foto.tw.de, as found on Wikimedia Commons. Front cover vector art supplied by aarows/iStock/Thinkstock. Cloth ISBN: 978-1-55753-763-8 ePDF ISBN: 978-1-61249-478-4 ePUB ISBN: 978-1-61249-479-1 KU ISBN: 978-1-55753-788-1 Published by Purdue University Press West Lafayette, Indiana www.thepress.purdue.edu [email protected] Printed in the United States of America. For subscription information, call 1-800-247-6553 Contents FOREWORD vii EDITORIAL INTRODUCTION ix Michael Renov and Vincent Brook, Guest Editors PART 1: HISTORIES CHAPTER 1 3 Vincent Brook Still an Empire of Their Own: How Jews Remain Atop a Reinvented Hollywood CHAPTER 2 23 Lawrence Baron and Joel Rosenberg, with a Coda by Vincent Brook The Ben Urwand Controversy: Exploring the Hollywood-Hitler Relationship PART 2: CASE STUDIES CHAPTER 3 49 Shaina Hammerman Dirty Jews: Amy Schumer and Other Vulgar Jewesses CHAPTER 4 73 Joshua Louis Moss “The Woman Thing and the Jew Thing”: Transsexuality, Transcomedy, and the Legacy of Subversive Jewishness in Transparent CHAPTER 5 99 Howard A.