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Category: 28.07

The persistence of the soul: the afterlife in postsecular television
Helen Wheatley / University of Warwick

May 16, 2022 Helen Wheatley / University of Warwick 15 comments

Helen Wheatley discusses the recent proliferation of afterlife-themed television shows and how creators navigate multiple conceptions of “post-death experience.”

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Cinema’s First Nasty Women (Or, How to Record a Celebrity Video Intro)
Maggie Hennefeld / University of Minnesota

May 16, 2022 Maggie Hennefeld / University of Minnesota 2 comments

Maggie Hennefeld discusses efforts to curate 99 silent films spotlighting early film feminism, and discusses the challenges of navigating the early feminist film archive.

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“Name One Male Director”: Gender, Genre, and Authorship in Rose Matafeo’s Starstruck
Stefania Marghitu / Loyola University New Orleans

May 16, 2022 Stefania Marghitu / Loyola University New Orleans 2 comments

Stefania Marghitu explores the intersections between gender, genre, and authorship via Rose Matafeo’s Starstruck.

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Selling Smart TV Surveillance
CARA DICKASON / NORTHWESTERN UNIVERSITY

May 16, 2022 Cara Dickason / Northwestern University 3 comments

Cara Dickason examines how corporations sell Smart TVs as domestic surveillance technologies through gendered formulas.

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Were You Looking at the Woman in the Red Dress? The Male Gaze in The Matrix
Nicole Erin Morse / Florida Atlantic University

May 16, 2022 Nicole Erin Morse / Florida Atlantic University One comment

Nicole Erin Morse examines how The Matrix (1999) interrupts and deconstructs the male gaze.

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Portrait of an Art house during a pandemic, part 2
Sarah E. S. Sinwell / university of utah

May 16, 2022 Sarah E. S. Sinwell / University of Utah Leave a comment

Sarah E.S. Sinwell details how one art house cinema continues to adapt to the pandemic while serving its local community.

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Bridgerton’s Romance with Racial Nostalgia
Isabel Molina-Guzmán / University of illinois

May 16, 2022 Isabel Molina-Guzmán / University of Illinois 2 comments

Isabel Molina-Guzmán discusses how Bridgerton‘s escapist, colorblind narrative discursively produces a racial nostalgia that simultaneously erases unpleasant histories of racial conflict, generates pleasure in non-white audiences, and maintains white subjectivity.

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Flow is a critical forum on media and culture published by the Department of Radio-Television-Film at the University of Texas at Austin. Flow’s mission is to provide a space where scholars and the public can discuss media histories, media studies, and the changing landscape of contemporary media.

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Over*Flow: Responses to Breaking TV & Media News

Classifying Dahmer: Protecting Netflix’s Homonormative Canon
Dan Vena / Queen’s University & Sarah Woodstock / University of Toronto

"I’m the Industry Baby”: The Political Economy of Lil Nas X
Wendy Peters / Nipissing University

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FlowTVFLOW@FlowTV·
27 Jan

New to Over*Flow: Dan Vena and Sarah Woodstock argue that Netflix’s removal of Dahmer – Monster: The Jeffrey Dahmer Story from its LGBTQ TV category discards “unacceptable” queer history and protects the homonormativity of Netflix’s LGBTQ library.
https://www.flowjournal.org/2023/01/overflow-classifying-dahmer/

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FlowTVFLOW@FlowTV·
21 Jan

Check out this call for papers from our colleagues! 10 days until submissions are due.

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FlowTVFLOW@FlowTV·
13 Jan

Hey folks! We are officially extending this CFP until Sunday, January 15

Looking forward to reading your submissions!

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