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Category: 26.04

Synchronizing Creatives in Music Video Production
Laurel Westrup / University of California, Los Angeles

February 3, 2020 Laurel Westrup / University of California, Los Angeles 2 comments

Laurel Westrup examines the partnerships and production constraints of various music videos to illustrate its collaborative creative labor.

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The Reflexivity of Rigged Ratings: Nielsen in our Cultural Memory
Jennifer Hessler / Bucknell University

February 3, 2020 Jennifer Hessler / Bucknell University One comment

Jennifer Hessler discusses how television’s recurring trope of rigged ratings has shaped our cultural memory of Nielsen.

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Mr. Sandler Goes to Netflix
Danielle Williams / Georgia Gwinnett College

February 3, 2020 Danielle Williams / Georgia Gwinnett College One comment

According to Netflix, Adam Sandler dominated the platform in 2019. Danielle Williams breaks down his success by looking at the numbers.

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Syndication 202: Make Reruns Great Again
Taylor Cole Miller / University of Georgia

February 3, 2020 Taylor Cole Miller / University of Georgia One comment

The second installment of his three-part series sees Taylor Miller consider the implications of edits made to syndicated TV programs on their textuality and reception.

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Kids and Cable: Teaching Regulatory Circumvention
Kit Hughes / Colorado State University

February 3, 2020 Kit Hughes / Colorado State University Leave a comment

Kit Hughes explores the cable industry’s dual missions to uphold quality programming for children while pushing for deregulation.

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Interactive Television as a Cultural Forum: Storytelling and Meaning-Making in Black Mirror: Bandersnatch
Ryan Stoldt / University of Iowa

February 3, 2020 Ryan Stoldt / University of Iowa Leave a comment

Interrogating audiences’ ability to share ideological interpretations of interactive texts, Ryan Stoldt argues people’s cultural tastes impact the range of questions they will encounter through interactive texts.

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From Crazy Rich Asians to Netflix: The “Rebirth” of Romantic Comedies, pt. 2
Katherine E. Morrissey / San Francisco State University

February 3, 2020 Katherine E. Morrissey / San Francisco State University 2 comments

Katherine E. Morrissey explores how the recent successes (and failures) of Crazy Rich Asians and To All The Boys I’ve Loved Before illustrate two emerging distribution strategies for rom-coms within the increasingly global media market.

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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·
20 May

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

Read more at:
https://www.flowjournal.org/2022/05/portrait-of-an-art-house-during-a-pandemic-part-2/

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FlowTVFLOW@FlowTV·
19 May

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

Read more at:
https://www.flowjournal.org/2022/05/cinemas-first-nasty-women/

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FlowTVFLOW@FlowTV·
18 May

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

Read the full article at:
https://www.flowjournal.org/2022/05/persistence-of-the-soul/

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