Piers Britton on Mad Men's visual style, series structure, and Sixties-philiac tendencies, and how the TV series turned its tension between the espousal of emotional truthfulness and a preoccupation with “superficial” visual pleasures into a branding strategy.
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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?
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As a researcher, the rich and creative fandom discursively surrounding a text that does-not-quite-exist yet provides a mélange of data.
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How do forensic fandom practices work when applied to a serialized non-fiction mystery?
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'The Curse of the Black Spot' serves up warmed-over intertextualities with gusto. But such manic repetition of generic fare seems to over-ride considerations of authorial distinction.
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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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Universal Studios announced the arrival of the Wizarding World of Harry Potter to Super Bowl-watching muggles. What does this mean for the Harry Potter franchise?
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