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Category: 5.11

Everybody Hates Chris and the (Overdue) Return of the Working-Class Sitcom

April 5, 2007 Tim Gibson / George Mason University 13 comments

by: Tim Gibson / George Mason University
On Everybody Hates Chris, class issues are largely explored in Chris’s home life, while the show’s writers
use Chris’s travails at Corleone to foreground questions
of race.

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Watching TV Without Pity

April 5, 2007 Mark Andrejevic / University of Iowa 3 comments

by: Mark Andrejevic / University of Iowa
Rip-on-your-favorite-show sites elevate the attempt to make bad TV more entertaining to a popular art form. In the Television Without Pity world, the show is no longer the final product, but rather the raw material to which value is added.

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Comics to Film (And Halfway Back Again): A DVD Essay

April 5, 2007 Drew Morton / Texas A&M 8 comments

by: Drew Morton / UCLA
By constructing visual essays, cinema and media studies scholars dip their hands into processes they think and write so much about.

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When the Whole World is Watching: The Case of Celebrity Big Brother

April 5, 2007 Sarita Malik / Brunel University 3 comments

by: Sarita Malik / Brunel University
Now that we can begin to look back at Celebrity Big Brother in less impulsive, more diagnostic ways, the major upshot – aside from a surefire boost to Shilpa Shetty’s international career following her win –
should be the critical attention paid to Channel 4’s role.

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To Watch a Predator

April 5, 2007 Eric Freedman / Florida Atlantic University 3 comments

by: Eric Freedman / Florida Atlantic University

Do the suspects of Dateline: To Catch a Predator have any right to privacy, or can they be freely featured as part of the flow of network television?

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Bigoted Brother 1, Forgotten Sisters

April 5, 2007 Kim Akass and Janet McCabe 4 comments

by: Kim Akass and Janet McCabe
Sanctifying sexism as long as your target is a racist – this article explores the sexist discourse surrounding media coverage of the recent “race row” on the UK show Celebrity Big Brother and the controversial figure of Jade Goody.

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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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lcbrown91Laura Brown@lcbrown91·
31 May

It was an absolute pleasure to helm @FlowTV with @ashdharcourt this year! The biggest of thanks to our contributors, staff, and supporters! https://twitter.com/FlowTV/status/1531636621275058176

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FlowTVFLOW@FlowTV·
31 May

That’s a wrap on Volume 28. Shout out to our wonderful contributors and staff this past year. Also, be on the lookout out for our grad student issue that goes live in August!

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FlowTVFLOW@FlowTV·
30 May

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

Read the full column at:
https://www.flowjournal.org/2022/05/were-you-looking-at-the-woman-in-the-red-dress/

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