Casey McCormick uses the Twitter reaction to the end of the Obama administration as a jumping off point to explain why finales matter and how audiences express an ambivalence regarding the ends of longform televisual storytelling.Read more
An examination of social comportment within different cinema spaces and the role of audience behavior in shaping the moviegoing experience.Read more
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.
by: Nichola Dobson / Independent Scholar
Caught in between disputing media cable providers, audiences find alternative ways to circumvent the
media’s economically driven programming strategies.
by: Alan McKee / Queensland University of Technology
Why is television my favourite medium, moreso than cinema, radio, even than books? Why does art make me so angry, television so joyful?
by: Jonathan Gray / Fordham University
While television networks are rolling out their lineups of new shows this month, many potential viewers have already decided which programs they will tune in to, and which they will actively avoid. How does pre-season marketing play in to the way audiences interpret television texts, and how do we analyze those readings as critics in television studies?
by: David Lavery / Middle Tennessee State University
Can Lost sustain its suspense while retaining the good faith of and credibility with a deeply inquisitive viewership, determined to puzzle out its mysteries?
by: Allison McCracken / DePaul University
Steven Johnson (Everything Bad is Good for You) writes that television can be a “cognitive workout.” Whose television is he talking about?