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'Carnaby Street, 10am': KateModern and the Ephemeral Dynamics of Online Drama
This article examines the blockbuster ‘announcement’ trailer. As teasers-for-the-teaser-trailer, these ephemeral texts invite audiences to look forward to an upcoming film while also calling on them to look back to a previous cinematic encounter. Moreover, their specific reveal-conceal structure also encourages fans to scan the text for clues (to look inward) while making connections to previous texts (to look outward). Building on Jonathan Gray’s concept of ‘speculative consumption’, wherein audiences ‘create an idea of what pleasures any one text will provide’, this article refers to this textual construction and affective sensation as speculative nostalgia, asserting that it is constitutive of today’s blockbuster culture. When situated into the contexts of their industrial and spectatorial temporality, announcement trailers prove to be rich sites for examining blockbusters, not only as intertextual commodities which spread far and wide, but also as inter-temporal commodities in which specific temporal structures are shaped, shared, revised, and felt.
This article focuses on production and reception practices for live reality television using critical theory and empirical research to question how producers and audiences co-create and limit live experiences. The concept of care structures is used to make visible hidden labour in the creation of mood, in particular audiences as participants in the management of live experiences. In the case of Got to Dance, there was a play off between the value and meaning of the live events as a temporary experience captured by ratings and social media, and the more enduring collective-social experience of this reality series over time.
The Øresund is a transnational metropolitan region comprising Greater Copenhagen (Denmark) and Skåne (Southern Sweden), joined by the Øresund Bridge built over the strait separating the two nations. Historically a site of cultural encounter between Denmark and Sweden, the region took shape as a political-economic entity during the 1990s against a wider backdrop of European Union initiatives to encourage cross-border cooperation. One aim of the Øresund development strategy is to foster regional culture and identity; the production and distribution of audiovisual media supported by the respective national film policies and industries are key here. I explore how the Øresund region has been imagined and critiqued in popular film and televisual texts since the 1990s and provide new readings of a largely un-researched body of material related to the development of this transnational region. Drawing on a small-nation approach to cinema, I study the emergence and development of screen culture in the region and how audiovisual texts construct the sense of an ‘Øresund identity’, a cultural and geopolitical identity that is still being forged and negotiated by various actors. In particular, I investigate how the region’s spatial identity is mediated to local and international audiences through representations of postindustrial urban change and intercultural encounters. I begin with an analysis of the film-political landscape, followed by close readings of the audiovisual texts against the socio-political context of the genesis of the region and the architectural and cultural policies emerging from the larger region-building project. I argue that the texts imaginatively negotiate, and, to an extent, shape the economic, social, and material development of the region during this period of intense region-building and branding. This thesis is a contribution to scholarship in the areas of small nation cinema, Nordic screen studies, and culture and identity.
When members of an online, distributed learning community revealed that understanding local patterns of communication purpose and form was key to learning how to operate in this environment, we turned to writers on genre and persistent conversation for help in understanding the basis of this community. We derive from genre literature the idea that radicals, that is root characteristics, of presentation exist in computer-mediated environments and define important aspects of conversation via such media. We propose three radicals of presentation that revolve around speaker-audience relations and identify areas of concern for communicators engaging in persistent, online conversations: visibility, addressing primarily speakers’ concerns with the means, methods and opportunites for self-presentation; relation, addressing the speaker’s concerns with the range and identity of the audience, and audience members’ concerns about relations with each other; and co-presence, addressing concerns relating to the temporal, virtual, and/or physical co-presence of speaking and listening participants.
Changes in the television industry with regards to the development of new media technologies are having a significant impact on audience engagement with television drama. This article explores how the internet is being used to extend audience engagement onto platforms other than the television set to the point where television drama should increasingly be reconsidered as trans-media drama. However audience engagement with the various elements of a trans-media drama text is complex. By exploring audience attitudes towards character in the British television series Spooks and its associated online games, this article argues that in an increasingly converged media landscape audiences transfer values between platforms. Consequently the audience's perception of control in relation to their engagement with a trans-media drama text such as Spooks becomes complicated with values associated with television proving key to their engagement with the same fictional world in the form of games.
The ongoing evolution of the Web poses challenges for scholars as they seek to develop methodological approaches permitting robust examination of Web phenomena. Some of these challenges stem from the nature of the Web, which is a unique mixture of the ephemeral and the permanent. Increasingly complex Web applications that are altering traditional relationships between media form and content challenge the adaptation of traditional approaches to social research on the Web. Web-based media require new methods of analyzing form and content, along with processes and patterns of production, distribution, usage and interpretation. We identify three sets of approaches that have been employed in Web-related research over the last decade. Distinguishing between these approaches helps establish the trajectory of Web studies; highlighting the strengths and weaknesses of each focuses attention on the methodological challenges associated with the field of Web studies.
Flash mobbing shone briefly and brilliantly in cities around the world in summer 2003. Each flash mobbing was comprised of a public gathering of strangers and acquaintances organised via email and texting. Once gathered, flash mobbers performed a quirky stunt and then quickly dispersed. Why did a trend often described as ‘silly fun’ become hotly contested? This paper argues that the conjuncture in flash mobbing of mobile texting, targetted mobbing and public performing—and the popularization of the trend in urban public spaces at this juncture in history—made it a significant moment in the history of mobile communication.
'Imagined Communities' examines the creation & function of the 'imagined communities' of nationality & the way these communities were in part created by the growth of the nation-state, the interaction between capitalism & printing & the birth of vernacular languages in early modern Europe.
Noël Carroll, a brilliant and provocative philosopher of film, has gathered in this book eighteen of his most recent essays on cinema and television-what Carroll calls "moving images." The essays discuss topics in philosophy, film theory, and film criticism. Drawing on concepts from cognitive psychology and analytic philosophy, Carroll examines a wide range of fascinating topics. These include film attention, the emotional address of the moving image, film and racism, the nature and epistemology of documentary film, the moral status of television, the concept of film style, the foundations of film evaluation, the film theory of Siegfried Kracauer, the ideology of the professional western, and films by Sergei Eisenstein and Yvonne Rainer. Carroll also assesses the state of contemporary film theory and speculates on its prospects. The book continues many of the themes of Carroll's earlier work Theorizing the Moving Image and develops them in new directions. A general introduction by George Wilson situates-Carroll's essays in relation to his view of moving-image studies.
Product Description The early years of the twenty-first century have seen dramatic changes within the television industry. The development of the internet and mobile phone as platforms for content directly linked to television programming has offered a challenge to the television sets status as the sole domestic access point to audio-visual dramatic content. Viewers can engage with television without ever turning a television set on. Whilst there has already been some exploration of these changes, little attention has been paid to the audience and the extent to which these technologies are being integrated into their daily lives. Focusing on a particular period of rapid change and using case studies including Spooks, 24 and Doctor Who, Transmedia Television considers how the television industry has exploited emergent technologies and the extent to which audiences have embraced them. How has television content been transformed by shifts towards multiplatform strategies? What is the appeal of using game formats to lose oneself within a narrative world? How can television, with its ever larger screens and association with domesticity, be reconciled with the small portable, public technology of the mobile phone? What does the shift from television schedules to online downloading mean for our understanding of the television audience? Transmedia Television will consider how the relationship between television and daily life has been altered as a result of the industrys development of emerging new media technologies, and what television now means for its audiences. About the Author Elizabeth Jane Evans is lecturer in Film and Television Studies in the Department of Culture, Film and Media at the University of Nottingham. She has previously published in Media, Culture and Society and Participations.
This article analyses the role of liveness as a source of distinction in the contemporary media environment. To do so, I study a number of attempts at live, scripted comedy and drama that have aired on US broadcast network television since the early 1990s and analyse the discourses of medium specificity and cultural value associated with them. These live events explicitly invite comparison to the earlier, Golden Age era of live broadcasting, but they also veer away from the earlier positioning of liveness as televisions essence. In fact, these live programs achieve their highest marks of distinction by associating themselves not with TV, but instead with other media. These discourses of liveness illustrate struggles over distinction and cultural worth between television texts and between television and other media, replicating longstanding hierarchies in a new social, technological, economic, and aesthetic context.
Current developments in high-definition technological systems for home viewing link definitively with early Home Cinema, as practised from the late 1890s, as an alternative to public spectatorship. The traditions of Home Cinema, in encompassing degrees of informality, interaction and control within domestic exhibition, served to lay foundations for a televisual experience which, today, having come full-circle, is defining itself once more as `Home Cinema'.
This paper considers the role of DVD releases in relation to TVIII. As well as moving towards multi‐platform and hence transmedial versions of ‘television’, TVIII can also be linked to the provision of selected TV shows as material consumer artefacts—DVD box sets—which frequently emphasise values of ‘completeness’ and ‘collectability’ (Kompare, Rerun Nation, Routledge, New York and London, 200529.
Kompare , Derek . 2005. Rerun Nation, New York and London: Routledge. View all references). I analyse how DVD releases bid for television's cultural value, especially by re‐contextualising TV series as symbolically bounded art objects rather than as interruptible components within TV's ceaseless ‘flow’. I discuss this as the ‘text‐function’ of DVD, suggesting that whilst much ‘ordinary TV’ (Bonner, Ordinary Television: Analyzing Popular TV, Sage, London, 20032.
Bonner , Frances . 2003. Ordinary Television: Analyzing Popular TV, London: Sage. View all references) is marginalised by not being made available on DVD, cult and quality TV tend to be over‐represented categories within DVD release patterns. As such, DVDs partly work to reinforce TV canons (Bignell, New Review of Film and Television Studies, vol. 3, no. 1, pp. 15–32, 20051.
Bignell , Jonathan . 2005. ‘Exemplarity, pedagogy and television history’. New Review of Film and Television Studies, 3(1): 15–32. [Taylor & Francis Online]View all references), as well as promoting ‘close reading’ of ‘isolated texts’. Furthermore, DVD commentaries typically, though not always, work to reinforce discourses of TV auteurism—again operating as cultural and textual elevations of ‘mere television’.
Enterprising Women: Television Fandom and the Creation of Popular Myth
- Camille Bacon-Smith
- C Bacon-Smith
Bebo Soap to Air 12 Episodes in 12 Hours
- Eqal
Television, Broadcasting, Flow: Key Metaphors in TV Theory
- Jostein Gripsrud
- J Gripsrud
The Television Will Be Revolutionized
- Amanda D Lotz
- AD Lotz
Storage, Simultaneity, and the Media Technologies of Modernity
- William Uricchio
- W Uricchio
- S Zielinski
Invisible Fictions: Television Audiences, Paedocracy, Pleasure
- John Hartley
- J Hartley
Television as Cultural Form
- Horace Newcomb
- Paul M Hirsch
Cocktail Party Plan to Mark the End of the Line for Tube Drinkers
- Quin Parker
The Attractions of Television: Reconsidering Liveness
- Mimi White
- M White