Tiny robots in our pockets: a critical exploration of podcasts Item Type Thesis Authors Dreasler, Quinn Elizabeth Download date 23/09/2021 16:28:12 Link to Item http://hdl.handle.net/11122/5590 TINY ROBOTS IN OUR POCKETS: A CRITICAL EXPLORATION OF PODCASTS By Quinn Elizabeth Dreasler RECOMMENDED: ----------- - Eileen Harney, PhD Carr, PhD air of the Department of English TINY ROBOTS IN OUR POCKETS: A CRITICAL EXPLORATION OF PODCASTS A THESIS Presented to the Faculty of the University of Alaska Fairbanks in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS By Quinn Elizabeth Dreasler, B.A. Fairbanks, AK May 2015 Abstract This project is an exploration of the audio platform of podcasting. It is in three parts. The first part is an initial introduction to the medium of podcasting and an introduction to a critical theory of media studies in regard to popular culture. The second part is an exploration of the educational and academic applications of podcasting as well as an examination of aural learning as an important cultural mode of discourse. There are pedagogical implications and examples of utilizing both popular culture and podcasting in the classroom. The third part is a critical examination of selected podcasts that feature discussions of popular culture and how those discussions fit into the critical modes, genres and discourses outlined in the first two parts of this project. This discussion focuses mostly on the critical examination of science fiction films in podcasting. There is a conclusion that wraps up the main ideas and critical theories discussed in the project as well as an epilogue that addresses concerns raised at the defense of this project regarding pedagogy and accessibility. This is the transcript of this project. The actual thesis artifact is a series of three podcasts that are available through the University of Alaska Fairbanks Graduate School Archive and through the website SoundCloud. https://soundcloud.com/quinn-dreasler/sets/quinns-thesis v Table of Contents Page Signature Page ............................................................................................................................ i Title Page .................................................................................................................................... iii Abstract........................................................................................................................................ v Table of Contents..................................................................................................................... vii Acknowledgments..................................................................................................................... ix Part 1: Podcasting and Pop Culture: A Critical Examination................................................ 1 Part 2: Podcasting and the Educational Efficacy of Aurality............................................... 29 Part 3: Podcasts and Critical Theory .....................................................................................47 Concluding Thoughts.............................................................................................................. 73 Epilogue .....................................................................................................................................75 Works Cited .............................................................................................................................. 83 vii Acknowledgements This thesis would not be possible without the careful guidance and attention of my committee, Eileen Harney, Sarah Stanley, and especially my chair, Chris Coffman. Thanks surely to Seth Jones, Kendell Newman Sadiik, Kerstin Aloia, Megan Mericle, Summer June Dorr, Heather Ezell, and Tia Tidwell for lending their voices to this project. Furthermore, it would not be possible for me to feel like a real human being and supported without my family, particularly Seth Jones, Malory Dreasler, Mama Laura, Papa Herb, and Becky. Thanks also to the English Department at UAF for deciding to admit the loveliest group of graduate students imaginable. Thanks also to the Fairbanks Roller Girls for giving me hugs and hip checks when I needed them. Thanks finally to friends near and far who sent postcards, baby pictures, M&Ms, and good advice and support regardless of the time of day or the amount of distance between us. ix Part 1: Podcasting and Pop Culture: A Critical Examination This is my thesis for the completion of my Master’s degree in English at the University of Alaska, Fairbanks. The listening part of my thesis is a podcast. The written part is a transcript.1 The podcasts I have chosen to engage with here, in this text are an incredibly small fraction of what is available in the vastness of the Internet. This podcast is an engagement of and towards a critical theory of podcasts, the benefits of using them to learn about critical thinking and how to apply knowledge and theory to other kinds of culture, and a few examples of why they can be so powerful when we use them to engage with critical thought. This project is in three parts. The first part breaks down the podcast into hard data—what a podcast is, how many people engage with them, who makes them, and what we can expect from the critical discourse in podcasting. The first part also takes a deep dive into pop culture consumption and how we use, look at, and engage with it— and how that conversation fits into podcasting. The second part looks at podcasts though the lens of their academic and educational value as well as breaks down the conventions of podcasts about popular culture. The third part contains examples of different podcasts—specifically conversations about science fiction in popular culture and how they fall into the critical mindsets and sensibilities that are outlined in parts one and two, as well as a discussion of their critical academic value. 1 This text document is a transcript of the thesis, which is available in audio form. The citations in this thesis are done in MLA style, but in the footnotes. This is in order to not disrupt the transcript. All of the sources, in their full citations, can be found in the Works Cited at the end of this document. 1 First of all, podcasts are audio blogs that can be downloaded or streamed from the Internet. Podcasts can feature critical discussions, interviews, personal journaling, soundscapes, reviews, stories, or just information. A podcast is similar to a radio program, but is available whenever and wherever an Internet connection is available. Unlike a radio program, a podcast is a file that can be stored and listened to at any time. Many radio programs come in the form of podcasts, but there are hundreds of thousands of podcasts that are available to download for free, that are only be found on the Internet. Podcasts also have an ephemeral essence—they are usually set to disappear from your phone or computer after they have played. They do not have to fit into a specific format—or a specific time constraint. Podcasts are fiction and non-fiction, journalistic, savvy, stupid, fun, boring, and exciting. Many of the most popular podcasts are non-fiction or comedy.2 The podcasts that are discussed here, in this project, are specifically ones that pertain to pop culture and criticism—non-fiction for sure, but also podcasts provide an outlet that is different from print or written online criticism. It is a way to talk about media that is new and fresh in an alternative format. Podcasts are not the be-all-end-all medium for criticism, but they are a great way to learn how to discuss things critically. They are a great way to be able to learn how to watch, consume, and discern our own media intakes. The way that podcasts present information--in a conversational form, and in such an accessible content form — is one of the best ways to find voices of content creators that may not always have had a voice. Podcasting is a diverse, democratic medium that continues to grow and flourish. There 2 “Top Ranked Podcasts.” 2 are hundreds of thousands of podcasts available, and many of them contain valuable ways to learn and to grow. Technology provides a means to an end in the democratization of education and information—the availability of technology and the accessibility of the technology to people of all races, backgrounds, ethnicities, religions, and social classes provides a way to bring a parity to all kinds of information that, until recently, has been available to only the educated, privileged few.3 Podcasts, such as the ones I will discuss here, are cultural commentary; they feature reviews and critiques of different aspects of culture like movies, TV shows, music, Internet memes, or books. Some podcasts, like Jordan, Jesse, Go!, are completely unscripted and often rely on the host’s life experience and musings for content. Others are cultivated, but generally spontaneous. One podcast I will talk about a lot in this project, Pop Culture Happy Hour, has four hosts who make notes and gather information about a specific topic, and have an organized, edited discussion to that end. Other podcasts, like RadioLab or How to Do Everything, feature carefully edited interviews, soundscapes, and recorded transcripts to illustrate and explain all sorts of things from how color is made of light to how blood relates to different cultural artifacts. Podcasts like Serial take a more serious tone and are more like traditional journalism with carefully produced and paced