by: Mimi White / Northwestern University
I have been thinking about the pace of television, and wondering if I even know what the pace of television is.
The persistence of the soul: the afterlife in postsecular television
Helen Wheatley / University of Warwick
Helen Wheatley discusses the recent proliferation of afterlife-themed television shows and how creators navigate multiple conceptions of “post-death experience.”
Cinema’s First Nasty Women (Or, How to Record a Celebrity Video Intro)
Maggie Hennefeld / University of Minnesota
Maggie Hennefeld discusses efforts to curate 99 silent films spotlighting early film feminism, and discusses the challenges of navigating the early feminist film archive.
“Name One Male Director”: Gender, Genre, and Authorship in Rose Matafeo’s Starstruck
Stefania Marghitu / Loyola University New Orleans
Stefania Marghitu explores the intersections between gender, genre, and authorship via Rose Matafeo’s Starstruck.
Cara Dickason examines how corporations sell Smart TVs as domestic surveillance technologies through gendered formulas.
Were You Looking at the Woman in the Red Dress? The Male Gaze in The Matrix
Nicole Erin Morse / Florida Atlantic University
Nicole Erin Morse examines how The Matrix (1999) interrupts and deconstructs the male gaze.
Sarah E.S. Sinwell details how one art house cinema continues to adapt to the pandemic while serving its local community.
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.
by: Mimi White / Northwestern University
by: Mary Beth Haralovich / University of Arizona
In the early 1970s, Dirty Harry famously took on the issue of constitutional rights for US citizens suspected of crimes. Clint Eastwood’s cop movie launched the popular narrative enigma that would influence decades of television legal drama . . .
by: Heather Hendershot / Queens College CUNY
“It’s like Jell-O on springs!” Jack Lemmon declares as he ogles Marilyn Monroe’s fleshy derriere in Some Like It Hot (1959). Lemmon himself is in drag, and watching this film recently for the umpteenth time, I am struck again by its strange combination of heterosexual prurience and queer exuberance. I am also struck by Monroe’s plumpness.
by: Thomas Streeter / University of Vermont
Never has the need for media reform been more obvious, more urgent, or — judging by everything from Moveon.org surveys to downloads of the Jon Stewart Crossfire clip — more popular.
by: Rhonda Hammer and Douglas Kellner
Talk television has become increasingly political in the past years.
by: Michela Ardizzoni / Indiana University
The famous Dutch television producer, Endemol, will probably go down in the annals of history as a catalyst of standardized television programming across the globe.
by: Toby Miller / University of California, Riverside
A closer look at the supposed differences between Fox News and its cable news competitors.
by: Jim McGuigan / Loughborough University
It is commonplace to observe that television, like everything else, is increasingly global these days. What is happening on the other side of the world is shown and commented upon instantaneously in news programming.
by: Frederick Wasser / Brooklyn College
We cannot blame this one on the media. There was no spin, no agenda setting, and no spiral of silence powerful enough to excuse the electorate.
by: Erin MacLeod / McGill University
With the “TV on DVD” phenomenon in full effect almost any show you’ve ever loved that’s been either relegated to reruns or sporadic glimpses on various cable channels is available.
by: Brian L. Ott / Colorado State University
Although I appreciate the courtesy of my fellow drivers letting me know what pisses them off and whom they’d like to piss on, I can’t help but notice that they have adopted the same cultural icon to convey, at times, very divergent targets of distaste.
by: Michele Hilmes / University of Wisconsin-Madison
Every so often a core concept emerges in an historical or theoretical field that serves a purpose at the time of its invention but slowly loses its explanatory power…