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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 Leave a comment

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 Leave a comment

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 Leave a comment

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 Leave a comment

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 Leave a 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 One comment

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: “'It's Not Dark Humor If It's Not Your Trauma - You're Just Bad People': The Exploitive Nature of TikTok Meme Cultures
Moa Eriksson Krutrök / Umeå University, Sweden

Over*Flow: The Costs of Hope in The Chair and The Bold Type
Kelly Coyne / Northwestern University

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FlowTVFLOW@FlowTV·
25 May

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

Read the full article here:
https://www.flowjournal.org/2022/05/gender-genre-authorship-in-starstruck/

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FlowTVFLOW@FlowTV·
24 May

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

Read the full article here:
https://www.flowjournal.org/2022/05/smart-tv-surveillance/

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FlowTVFLOW@FlowTV·
23 May

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

Read more at:
https://www.flowjournal.org/2022/05/bridgertons-romance-with-racial-nostalgia/

Reply on Twitter 1528737518480412672Retweet on Twitter 152873751848041267211Like on Twitter 152873751848041267218Twitter 1528737518480412672
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