
In this second post, I now move on to consider locally produced promos, where an increased amount of creativity seems to be put forward and the intent is noticed of “domesticating” the show for the target culture.
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In this second post, I now move on to consider locally produced promos, where an increased amount of creativity seems to be put forward and the intent is noticed of “domesticating” the show for the target culture.
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In this post I propose to look at some of the promotional videos used for the Italian launch of Glee, which premiered on FOX Italia on December 25th, 2009. I will look at two examples in which the dubbed Italian version was superimposed on the English original.
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WE's new series, produced by and starring Joan & Melissa Rivers draws attention to the artifice of reality TV, but in the fourth episode, the mask slips and reveals something that may be...possibly...perhaps..."real"...
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Real life doesn't always have a proper narrative, at least while it's in the process of composing itself.
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Does Pretty Little Liars hold the key to millennial narrative construction?
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Why do news media circulate comic book spoilers before special issues hit the stands?
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This season is painful to watch, but not in a fun, carnivalesque way. Rather, the pain seems to be much more serious and reveals the emotional trauma that we can experience when we blindly submit ourselves to normative ideas of patriarchy and the nuclear family.
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Returning to the subject of failed adaptations--and those we might fear will fail--I suggest that we not only look at place but also time as a central category whose uniqueness impacts a show's success.
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25 years ago today, one of the most significant tragedy-induced media events of the twentieth century took place: the Challenger Disaster.
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Though not the most popular or influential entry in the genre, Kid Nation appropriately offers an elementary school primer both on the conventions of reality competitions and their negotiation of social structures taken for granted in the "real" world.
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MTV’s adaptation of the British TV teen Drama Skins just may be one of those rare shows where what happens on screen is second in precedence to the responses surrounding the show.
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In the latest installment of Late to the Party, I familiarize myself with Steve Martin's classic stand-up comedy albums.
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A controversial new book argues that it’s okay to enjoy Charlie Chan movies.
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In a week when discussions of US and UK televisual differences and distinctions, particularly around class, accompanies the broadcast of US remakes of Shameless (Showtime) and Skins (MTV), its great to get a chance to talk about a British show that owes a debt to both, but in my view is arguably superior.
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Last month, I was in need of a new show. Upon the recommendation of Lainey Gossip and my Twitter feed, I decided on Misfits, a show about which I knew very little, save the following: 1.) It is British. 2.) It is about teenagers.
3.) I couldn't obtain it through strictly legal means.
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