With its reliance on speculation, dependence on simulation, and occasional swerves into absurdity, CNN's coverage of Malaysia Airlines 370 indexes the incomprehensibility of this disaster, marked by the failures of so many systems that seemed to promise safety, visibility, and order.
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What is a reboot, then? This is the overarching question of this series of articles and one which I have been wrestling with for six years or so.
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Despite its myriad problems, here are some reasons to like Facebook.
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A report on the recent Craft of Criticism conference at University of Notre Dame.
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How HBO's deal with Amazon Prime reflects its history of embracing new forms of distribution in the interest of connecting with and monetizing audiences unable or unwilling to subscribe to the channel.
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This year's Console-ing Passions conference emphasized the heritage and pedigree of the organization, as well as assessed the future contours of feminist media studies as a field.
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By leveraging Kickstarter as a safe space for masculinized fandom, Blue Mountain State has the potential to live on despite lacking its progenitor's coverage, prestige, and formalized fan engagement.
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Risks, rewards, and a pair of empty shoes; how much can his political edge can he retain?
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Johnny Weir's divorce challenges his status as one of the few openly gay American athletes, as well as the popular image of gay marriage and divorce in America.
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Klout attempts to quantify the ephemeral, subjective concept of online influence through social media analytics. What does such a number mean for how we consider self-presentation online?
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How to transform the potential of online communities like Simple Machine into local, public support for independent filmmaking?
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The politics of Disney's Frozen are indicative of symptomatic shifts within an otherwise largely entrenched ideological core.
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What I am interested here is the audience of forensic textual foragers that, like the true detectives themselves, followed the scattered bread crumbs that led towards, not the yellow brick road, but the yellow king and the city of Carcosa.
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Each winter, as February becomes March, Columbia, Missouri transforms itself into a grand stage for the True/False film fest, a four-day international nonfiction film festival.
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Continuing to think about LEGO, the idea of “creativity,” and the unequal extension of that idea to different consumer groups.
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Now in its eleventh year, Columbia, Missouri’s True/False Film Festival is rapidly becoming a major stop on the North American festival circuit.
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