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The UK now allows product placement in television programming, and their regulations on those placements perpetuate a false dichotomy regarding the logics and goals of product integration.
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The UK now allows product placement in television programming, and their regulations on those placements perpetuate a false dichotomy regarding the logics and goals of product integration.
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What I find frustrating about the show is not simply that it ends up Othering the world, but that it could be so much better. It’s like a B student who writes occasionally brilliant sentences, yet who isn’t trying hard enough.
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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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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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PBS premieres new period-piece Downton Abbey on Sunday, reminding us that Brit-lit mini-series, which construct variegated representations of mainly white, heterosexual, aristocratic, life, continue to be hugely popular.
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Among the many threads entwined in this production are its virtually fetishistic engagement with and display of early 20th century material culture, including forms of media.
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How to define television studies? What is television studies and what isn't?
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Media audiences are getting older, the world is getting older, but there are few attempts to explore that in ways that capture both the drama and humor of aging. Here's one.
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If we think of efforts by “American” entities to access “Indian American” spaces of culture, capital labor, and belonging as symptomatic of emergent modalities of the transnational, might we be able to see subtle shifts in the discourse of multiculturalism in the contemporary moment?
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