Sleeping with the Television On: How Popular Culture Content Implicitly Informs Political Reality
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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 -
(TU Dresden) Does the Body Politic Have No Genitals?
Accepted manuscript version of: Schwanebeck, Wieland. “Does the Body Politic Have No Genitals? The Thick of It and the Phallic Nature of the Political Arena.” Contemporary Masculinities in the UK and the US: Between Bodies and Systems, edited by Stefan Horlacher and Kevin Floyd, Palgrave Macmillan, 2017, pp. 75–98, doi:10.1007/978-3-319-50820-7. Wieland Schwanebeck (TU Dresden) Does the Body Politic Have No Genitals? The Thick of It and the Phallic Nature of the Political Arena Though it may not have required drastic proof, recent news from the political arena suggests that certain distinguished statesmen tend to rely on a candid exhibition of genitals in order to draw attention to their virility and, by implication, to their political power. Silvio Berlusconi made the headlines in 2010, when he insisted that the missing penis of a Mars statue be restored before the sculpture was deemed suitable to adorn his office as Italian Prime Minister, horrified reactions amongst art historians notwithstanding (cf. Williams). This anecdote sits comfortably amongst other tales from the bunga bunga crypt, yet one may as well wonder whether Berlusconi is not just a tad less inhibited than some of his colleagues when it comes to acknowledging that the body politic requires visible proofs of manhood. Slavoj Žižek has characterized the contemporary media environment as one in which it would not appear out of the question for a politician to “allow a hard-core video of his or her sexual shenanigans to circulate in public, to convince the voters of his or her force of attraction or potency” (208). -
The American Postdramatic Television Series: the Art of Poetry and the Composition of Chaos (How to Understand the Script of the Best American Television Series)”
RLCS, Revista Latina de Comunicación Social, 72 – Pages 500 to 520 Funded Research | DOI: 10.4185/RLCS, 72-2017-1176| ISSN 1138-5820 | Year 2017 How to cite this article in bibliographies / References MA Orosa, M López-Golán , C Márquez-Domínguez, YT Ramos-Gil (2017): “The American postdramatic television series: the art of poetry and the composition of chaos (How to understand the script of the best American television series)”. Revista Latina de Comunicación Social, 72, pp. 500 to 520. http://www.revistalatinacs.org/072paper/1176/26en.html DOI: 10.4185/RLCS-2017-1176 The American postdramatic television series: the art of poetry and the composition of chaos How to understand the script of the best American television series Miguel Ángel Orosa [CV] [ ORCID] [ GS] Professor at the School of Social Communication. Pontificia Universidad Católica del Ecuador (Sede Ibarra, Ecuador) – [email protected] Mónica López Golán [CV] [ ORCID] [ GS] Professor at the School of Social Communication. Pontificia Universidad Católica del Ecuador (Sede Ibarra, Ecuador) – moLó[email protected] Carmelo Márquez-Domínguez [CV] [ ORCID] [ GS] Professor at the School of Social Communication. Pontificia Universidad Católica del Ecuador Sede Ibarra, Ecuador) – camarquez @pucesi.edu.ec Yalitza Therly Ramos Gil [CV] [ ORCID] [ GS] Professor at the School of Social Communication. Pontificia Universidad Católica del Ecuador (Sede Ibarra, Ecuador) – [email protected] Abstract Introduction: The magnitude of the (post)dramatic changes that have been taking place in American audiovisual fiction only happen every several hundred years. The goal of this research work is to highlight the features of the change occurring within the organisational (post)dramatic realm of American serial television. -
An Analysis of Hegemonic Social Structures in "Friends"
"I'LL BE THERE FOR YOU" IF YOU ARE JUST LIKE ME: AN ANALYSIS OF HEGEMONIC SOCIAL STRUCTURES IN "FRIENDS" Lisa Marie Marshall A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2007 Committee: Katherine A. Bradshaw, Advisor Audrey E. Ellenwood Graduate Faculty Representative James C. Foust Lynda Dee Dixon © 2007 Lisa Marshall All Rights Reserved iii ABSTRACT Katherine A. Bradshaw, Advisor The purpose of this dissertation is to analyze the dominant ideologies and hegemonic social constructs the television series Friends communicates in regard to friendship practices, gender roles, racial representations, and social class in order to suggest relationships between the series and social patterns in the broader culture. This dissertation describes the importance of studying television content and its relationship to media culture and social influence. The analysis included a quantitative content analysis of friendship maintenance, and a qualitative textual analysis of alternative families, gender, race, and class representations. The analysis found the characters displayed actions of selectivity, only accepting a small group of friends in their social circle based on friendship, gender, race, and social class distinctions as the six characters formed a culture that no one else was allowed to enter. iv ACKNOWLEDGMENTS This project stems from countless years of watching and appreciating television. When I was in college, a good friend told me about a series that featured six young people who discussed their lives over countless cups of coffee. Even though the series was in its seventh year at the time, I did not start to watch the show until that season. -
Literariness.Org-Mareike-Jenner-Auth
Crime Files Series General Editor: Clive Bloom Since its invention in the nineteenth century, detective fiction has never been more pop- ular. In novels, short stories, films, radio, television and now in computer games, private detectives and psychopaths, prim poisoners and overworked cops, tommy gun gangsters and cocaine criminals are the very stuff of modern imagination, and their creators one mainstay of popular consciousness. Crime Files is a ground-breaking series offering scholars, students and discerning readers a comprehensive set of guides to the world of crime and detective fiction. Every aspect of crime writing, detective fiction, gangster movie, true-crime exposé, police procedural and post-colonial investigation is explored through clear and informative texts offering comprehensive coverage and theoretical sophistication. Titles include: Maurizio Ascari A COUNTER-HISTORY OF CRIME FICTION Supernatural, Gothic, Sensational Pamela Bedore DIME NOVELS AND THE ROOTS OF AMERICAN DETECTIVE FICTION Hans Bertens and Theo D’haen CONTEMPORARY AMERICAN CRIME FICTION Anita Biressi CRIME, FEAR AND THE LAW IN TRUE CRIME STORIES Clare Clarke LATE VICTORIAN CRIME FICTION IN THE SHADOWS OF SHERLOCK Paul Cobley THE AMERICAN THRILLER Generic Innovation and Social Change in the 1970s Michael Cook NARRATIVES OF ENCLOSURE IN DETECTIVE FICTION The Locked Room Mystery Michael Cook DETECTIVE FICTION AND THE GHOST STORY The Haunted Text Barry Forshaw DEATH IN A COLD CLIMATE A Guide to Scandinavian Crime Fiction Barry Forshaw BRITISH CRIME FILM Subverting -
DARPA Program Manager
The Role of DARPA in Seeding and Encouraging Technology Trajectories: Pre- and Post- Tony Tether in the New Innovation Ecosystem Erica R.H. Fuchs Assistant Professor Department of Engineering and Public Policy Carnegie Mellon University [email protected] 1 PlatoPlato’’ss Cave:Cave: ItIt’’ss notnot aboutabout thethe funding.funding. “Are you familiar with the allegory of the Cave?” (Plato, The Republic) “… It’s the same thing with (trying to deduce technology directions from) funding. The technology direction is a separate thing.” (Lead Technologist) 2 Background:Background: InnovationInnovation andand thethe ((U.S.)U.S.) StateState • Unlike other countries, whom have open and explicit developmental policies (Chalmers 1982; Wade 1990; Amsden 1989, 1994, 2001, 2003; Breznitz 2007, Block 2007) • Strong prevalence of free-market thinking in U.S. (Harcourt 1980) • Despite extensive historical documentation of the importance of federal agencies in technology development • Developmental state largely “hidden” (Hughes 2005, Block 2007) Little research unpacking the underlying processes by which the U.S. state influences technology trajectories. 3 DARPA:DARPA: PioneerPioneer • Founded 1958 (ARPA), Sputnik – Prevent technological surprises – Overcome inter-service rivalry • Pioneer of U.S. “Developmental Network State” • Since its inception – Hailed: Internet, PC, Laser… The West Wing – Criticized: Lazowski/Patterson 2005, 90s, 80s, 70s… – Copied: • 1998: ARDA/DTO (Intelligence Community) • 1999: 'In-Q-Tel (CIA) • 2002: HSARPA (Homeland Security) -
30 Rock: Complexity, Metareferentiality and the Contemporary Quality Sitcom
30 Rock: Complexity, Metareferentiality and the Contemporary Quality Sitcom Katrin Horn When the sitcom 30 Rock first aired in 2006 on NBC, the odds were against a renewal for a second season. Not only was it pitched against another new show with the same “behind the scenes”-idea, namely the drama series Studio 60 on the Sunset Strip. 30 Rock’s often absurd storylines, obscure references, quick- witted dialogues, and fast-paced punch lines furthermore did not make for easy consumption, and thus the show failed to attract a sizeable amount of viewers. While Studio 60 on the Sunset Strip did not become an instant success either, it still did comparatively well in the Nielson ratings and had the additional advantage of being a drama series produced by a household name, Aaron Sorkin1 of The West Wing (NBC, 1999-2006) fame, at a time when high-quality prime-time drama shows were dominating fan and critical debates about TV. Still, in a rather surprising programming decision NBC cancelled the drama series, renewed the comedy instead and later incorporated 30 Rock into its Thursday night line-up2 called “Comedy Night Done Right.”3 Here the show has been aired between other single-camera-comedy shows which, like 30 Rock, 1 | Aaron Sorkin has aEntwurf short cameo in “Plan B” (S5E18), in which he meets Liz Lemon as they both apply for the same writing job: Liz: Do I know you? Aaron: You know my work. Walk with me. I’m Aaron Sorkin. The West Wing, A Few Good Men, The Social Network. -
Boardwalk Empire
BOARDWALK EMPIRE "Pilot" Written by Terence Winter FIRST DRAFT April 16, 2008 EXT. ATLANTIC OCEAN - NIGHT With a buoy softly clanging in the distance, a 90-foot fishing schooner, the Tomoka, rocks lazily on the open ocean, waves gently lapping at its hull. ON DECK BILL MCCOY, pensive, 40, checks his pocket watch, then spits tobacco juice as he peers into the darkness. In the distance, WE SEE flickering lights, then HEAR the rumble of motorboats approaching, twenty in all. Their engines idle as the first pulls up and moors alongside. BILL MCCOY (calling down) Sittin' goddarnn duck out here. DANNY MURDOCH, tough, 30s, looks up from the motorboat, where he's accompanied by a YOUNG HOOD, 18. MURDOCH So move it then, c'mon. ON DECK McCoy yankS a canvas tarp off a mountainous stack of netted cargo -- hundreds of crates marked 'Canadian Club Whiskey·. With workmanlike precision, he and .. three CREWMAN hoist the first load of two dozen crates up and over the side, lowering it down on a pulley. As the net reaches the motorboat: MURDOCH (CONT'D) (to the Young Hood) Liquid gold, boyo. They finish setting the load in place, then Murdoch guns the motorboat and heads off. Another boat putters in to take his slot as the next cargo net is lowered. TRACK WITH MURDOCH'S MOTORBOAT as it heads inland through the darkness over the water. Slowly, a KINGDOM OF LIGHTS appears on the horizon, with grand hotels, massive neon signs, carnival rides and giant lighted piers lining its shore. As we draw closer, WE HEAR faint music which grows louder and LOUDER -- circus calliope mixed with raucous Dixieland jazz. -
Benefits of a Strong Parks and Recreation System
A STRONG PARK AND RECREATION SYSTEM IS ESSENTIAL FOR A THRIVING COMMUNITY Four out of five North Americans use their local recreation and park system. 70% have a park or recreation facility within walking distance of their home. Our parks are such a stable influence on our lives that we tend not to give them much thought. But our effective parks and recreation facilities do not just happen on their own. They require professional care and financial support to keep them clean, safe and suitable for the community they serve. HEALTH BENEFITS: Access to parks and recreation facilities leads to healthy lifestyles for people of all ages. Strong evidence shows that when people have access to parks, they exercise more. Every time sedentary people walk a mile, they add 21 minutes to their life. On average, every hour you spend exercising increases your life expectancy by two hours. Exercise increases the brain’s capacity for learning. ENVIRONMENTAL BENEFITS: Parks, open spaces and trails play a key role in preserving water and air quality, reducing congestion and protecting wildlife. Through the provision of parks, open spaces and protected natural environment, recreation can contribute to the environmental health of our communities. Trail and pathway systems save energy and protect air quality by encouraging non-motorized transportation. COMMUNITY BENEFITS: Parks and Recreation sources give communities a vital identity. Well- maintained, accessible parks and recreation facilities are key elements of strong, safe, family-friendly communities. When citizens get involved with their parks and recreation systems, their quality of life improves. Parks and recreation opportunities encourage citizens to be engaged in their communities – as volunteers, stewards, advocates and students. -
Accepted Manuscript Version
Research Archive Citation for published version: Kim Akass, and Janet McCabe, ‘HBO and the Aristocracy of Contemporary TV Culture: affiliations and legitimatising television culture, post-2007’, Mise au Point, Vol. 10, 2018. DOI: Link to published article in journal's website Document Version: This is the Accepted Manuscript version. The version in the University of Hertfordshire Research Archive may differ from the final published version. Copyright and Reuse: This manuscript version is made available under the terms of the Creative Commons Attribution-NonCommercial- NoDerivatives License CC BY NC-ND 4.0 ( http://creativecommons.org/licenses/by-nc-nd/4.0/ ), which permits non-commercial re-use, distribution, and reproduction in any medium, provided the original work is properly cited, and is not altered, transformed, or built upon in any way. Enquiries If you believe this document infringes copyright, please contact Research & Scholarly Communications at [email protected] 1 HBO and the Aristocracy of TV Culture : affiliations and legitimatising television culture, post-2007 Kim Akass and Janet McCabe In its institutional pledge, as Jeff Bewkes, former-CEO of HBO put it, to ‘produce bold, really distinctive television’ (quoted in LaBarre 90), the premiere US, pay- TV cable company HBO has done more than most to define what ‘original programming’ might mean and look like in the contemporary TV age of international television flow, global media trends and filiations. In this article we will explore how HBO came to legitimatise a contemporary television culture through producing distinct divisions ad infinitum, framed as being rooted outside mainstream commercial television production. In creating incessant divisions in genre, authorship and aesthetics, HBO incorporates artistic norms and principles of evaluation and puts them into circulation as a succession of oppositions— oppositions that we will explore throughout this paper. -
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.