A first-hand account of Jon Stewart and Stephen Colbert’s gathering on the National Mall.
By disrupting the everyday with a yearly tradition which unite a show’s cast, Halloween episodes can use the holiday’s blurring of fantasy and reality to speak to questions of character.
Despite its reputation as a wonky and bewildering issue, net neutrality actually boils down to a pretty simple principle of openness and nondiscrimination. It’s important to point out, then, that a lot of those who are talking about “net neutrality” these days aren’t actually talking about this.
For all the interest in using foreign media to immerse oneself in a “foreign” nationality, perhaps what a lot of us want/need is simply a background, faint, weak, unobtrusive ambience.
IR 11 is wildly interdisciplinary, tied together largely by research topic, leading to a number of fascinating connections, disjunctures, and challenges.
Ten (or more) media industry stories you might have missed recently.
Are lifestyle brands the new record labels? A new recording studio owned by Converse is offering musicians the opportunity to record their music for free, further reducing the need for artists to work with traditional record labels. There are, of course, some strings attached.
The ACTA retreat is indicative of a larger crisis in how media policy works today. Specifically: we have no idea how media policy works today.
Over the summer, we launched a location-aware iPhone app we called Bike Box. The goal in developing this project was to use smartphone technology to enhance rather than replace a user’s experience of physical space.
Self-referentiality is a staple of 30 Rock’s satire. Yet, I almost needed a “drop” and a spinning top to resurface from this live episode’s multi-layered meta-humor.
As Mad Men’s fourth season comes to a close, we look back on what Antenna contributors have had to say, and how it reflects on the eventful finale.
The rescue of a group of Chilean miners this week has become a media phenomenon. We want your opinion on it all.
The biggest fiction in the popular press about the film dubbed “the Facebook movie” is that it is, in fact, about Facebook.
By now you’ve surely heard the news: Christine O’Donnell is not a witch. Merely scoffing at her response to this brouhaha, though, means passing up an opportunity to understand how she constructs herself and her appeal as a righteous outsider.
This season, Mad Men, and its mad men and women, have been on a quest to redefine what advertising is, dramatizing the radical changes that the field underwent during the 1960s.