How far are Marvel Studios’ film and television franchises visually coded for homogeneity? How insistently, that is to say, is brand identity maintained at the levels of design, cinematography, editing and post-production processing?
Piers Britton reflects on the unacknowledged divergences in use of the term “aesthetic” within television studies, and suggests that some of the elisions are leading to unproductive argument.
How do we teach television aesthetics, and what does it mean to analyze or evaluate television aesthetics?
In this latest entry in The Aesthetic Turn series, Kyle Conway considers the aesthetic experience of media, using translation and metaphor to turn our attention away from the object and toward our experience of media in the age of convergence.
In this inaugural post in Antenna’s new series on cultural studies and media aesthetics, “The Aesthetic Turn,” Kyle Conway queries media’s experiential dimensions.
If Atmos or a similar system were to become the industry standard, questions arise as to how its potential aesthetic might shape the way films sound and look.
What political investments are written into discursive analysis? What is the relationship between media literacy and aesthetic analysis?
Over the past few weeks, we’ve had the opportunity to watch a fandom take root at double speed. And despite the purpose of this Antenna series, I’m not talking about Mad Men.