A Critical Forum on Media and Culture
A Critical Forum on Media and Culture
In the second part of her series focusing on Black Lives Matter television, Brandy Monk-Payton interrogates the reboot of The Wonder Years as a site for nostalgia and sentimentalism as constitutive of Black subjectivity.
Read moreBrandy Monk-Payton explores the shift from racial relevance to an active reckoning with race through the lens of Black Lives Matter television.
Read moreAlfred L. Martin, Jr. theorizes “surplus Blackness” in relation to the treatment of Black audiences in the culture industries.
Read moreLando Tosaya and Ralina L. Joseph illuminate some of the ways critical Black audiences resist culture vultures, digital Blackface, and performative activism.
Read moreThrough analysis of Hulu’s Woke, Laura Irwin and Ralina L. Joseph explore the complexities of the burden of representation that Black TV faces.
Read moreJas L. Moultrie and Ralina L. Joseph illustrate the power and limitations of players’ voices in the midst of branded corporate activism.
Read moreUsing Tim and Fred Williams’ musical reaction videos as a case study, María Elena Cepeda discusses racial and generational relations between audiences and content creators as potential drivers of change in production and marketing in the music industry.
Read moreConsidering generational trauma along with TikTok’s algorithm, Alex Hack discusses the many TikToks that were widely circulated in response to the murder of George Floyd and how they, in many ways, managed to break past the logic of Americana.
Read moreDaelena Tinnin examines the dearth of black female friendships on television, the paradox of visibility, and Insecure‘s liminal possibilities.
Read moreBriana Barner explores the podcast as a racialized space, and gives an example of a podcast that pushes back against the notion that podcasts are a White space.
Read moreSusan Courtney reflects on teaching race and media studies to undergraduates, inspired in part by her fall 2015 course, “Mediating Ferguson, USA: 1915-2015.”
Read moreBambi Haggins considers how the “shady” protagonists, Olivia, Annalise, and Cookie, ambivalently challenge previous “Super Negro” televisual representation strategies.
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