A Critical Forum on Media and Culture
A Critical Forum on Media and Culture
Nathan Rossi considers contemporary Latinx representation and the relationship between entertainment television and immigration reform.
Read moreJustin Wyatt considers discourses on digital and television advertising and considers how the truisms of television marketing are being revised, reformed, and sometimes simply rejected by the new variety of options for TV consumption.
Read moreUsing Lifetime’s UnReal as a case study, Jorie Lagerwey and Taylor Nygaard examine the representation of white, liberal, middle-class, educated women in the emerging “Horrible White People” genre on cable and streaming platforms.
Read moreAmanda Halprin examines the different translation and subtitling processes utilized by Netflix, DramaFever, and Viki in bringing global, foreign language digital content to U.S. audiences.
Read moreWhat does the presence of queer characters accomplish in historical shows? How much historicity do their depictions require? Britta Hanson explores the positive – and frequently negative – implications of modern-framed queer characters placed in the past.
Read morePhoebe Bronstein discusses television’s pedagogical potential for discussing race, from Harry Belefonte’s canceled Revlon specials to the current ABC sitcom black-ish.
Read moreShweta Khilnani examines female comedic anti-heroes through Selena Meyer’s (Julia Louis-Dreyfus) “performance of failure” in Veep, comparing her with Leslie Knope, the optimistic and sincere heroine of Parks and Recreation, and televisual male anti-heroes.
Read moreMyles McNutt explores HGTV’s relationship with “spatial capital” and observes how the network negotiates this spatial capital in programming that erases location and programming that explicitly frames location.
Read moreD. Jordan Davis explores the recent trend of kids cooking shows, examining both the positive and negative implications such competitive shows have on young people who want to cook.
Read moreMyles McNutt discusses the role of the Critics’ Choice Awards within the prestige economy of the television industry.
Read moreJane Feuer looks back on what The Mary Tyler Moore Show meant to her as a college student and then as a television scholar.
Read moreEmily Hoffman discusses the ways in which The Mary Tyler Moore Show demonstrates the possible messiness of motherhood and daughterhood without relying on sitcom conventions.
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