In the first installment of a three-part series on NBC’s Hannibal, Allison McCracken and Brian Faucette discuss the show’s and network’s branding efforts in relation to their appeals to “feminized” audiences.
Piers Britton explores questions of representation and issues of authorship and creative control in “Avengers: Age of Ultron” and the Marvel Cinematic Universe.
In the so-called “attention economy,” brands increasingly harness the immaterial labor of social media participants. To what extent can these digital activities by understood as gendered? This post draws on findings from a recently published International Journal of Cultural Studies article to explore the gendered politics of social media labor.
In the mobile game Kim Kardashian: Hollywood, the celebrity legitimizes her image while also propagating her brand by redefining fame as an accumulation of skills.
Grandpa Peacock may be floundering, but the kids—MSNBC and NBC Sports Network—are holding their own.
Whereas AMC’s new slogan reflects its consistent lack of direction, FX’s brand extension embodies its continuous push forward.
The new “Mickey Check” logo for “Disney-approved” licensed food and beverage products is merely a new take on an old (and problematic) approach.
While this media surge contributed to this season’s premiere becoming Mad Men’s highest rated episode ever, ratings are not really the point. Mad Men sustains AMC’s brand, providing a specific and prestigious visibility that extends beyond those who actually watch. Mad Men also offers viewers the opportunity to feel simultaneously nostalgic for and superior to a version of an earlier era, achieving a “sophisticated weekly get together of the people we dig and who dig us.”
While the actual “Must See TV” branding is all but gone, there remains a specter of legitimation surrounding the evening…at least in the eyes of NBC schedulers.
It is no longer impossible to imagine that AMC might move on, leaving its signature show behind.
While there have been a number of diverse responses to this year’s SCMS, a substantial portion of the discussion boils down to this central question: why do we attend academic conferences?
2010 poses a key threat to the brand, and to its ‘flagship drama’ status in the UK – what if a new Doctor, companion, and exec-producer team represents too much change for audiences to take?