A Critical Forum on Media and Culture
Amanda C. Cote and Brandon Harris discuss the myth of high-quality video games coming as a result of overworked video game developers.
Read moreDrawing on examples such as NPR’s Tiny Desk (Home) Concert and Instagram’s Verzuz battles, Alyx Vesey explores how musicians have utilized online platforms as alternatives to live concerts in the age of COVID-19.
Read moreThrough the work of Judylyn Ryan and Audre Lorde, Christina N. Baker explores filmmaker Kasi Lemmons’s films, Eve’s Bayou and Harriet, through epiphany, intuition, spirituality, and the erotic.
Read moreUsing Mexican director Guillermo del Toro as a case study, Orquidea Morales discusses how his films are shaped by transnationalism and consequently exemplify the contested nature of the genre of Latinx Horror.
Read moreCynthia Meyers explores several Pepsi advertising campaigns dating back to the 1940s to contextualize the company’s latest venture: sponsoring a new game show, Cherries Wild.
Read moreCrystal Camargo grapples with how the cultural specificity of Mindy Kaling’s Netflix comedy Never Have I Ever is diluted by the sonic whiteness of the show’s narrator, John McEnroe.
Read moreErika M. Heredia and Mel Stanfill examine “reactionary influencers,” who combine right-wing politics, reality-TV style provocations, and new social media opportunities for fame and fortune.
Read moreRecounting the case of the bees during the 2018 Columbian Presidential Election, Andres Lombana-Bermudez shows how digital participatory culture can effectively debunk disinformation.
Read moreEleanor Patterson analyzes how the emotional excess of This is Us connects it to historically feminized theorizations of mass culture and melodrama.
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