A Critical Forum on Media and Culture
A Critical Forum on Media and Culture
Canadian (over)production of teen TV says something about the role Canada plays in the global TV market, teaching us about the space where technological innovation and the production of national cultures and voices intersect.
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Why The Wire and Friday Night Lights are so fundamentally different from Freedom Writers and We Are Marshall–and why that matters.
An look at daytime loan commercials reveals that the home we are encouraged to love and cherish more than ever has shaky foundations.
Read moreIn addition to presenting viewers with images of urban mayhem, American television now offers a new vision of the city as a bourgeois playground—a bright-lights stage upon which popular fantasies of wealth, power, and distinction can be indulged. Yet, this said, there is still something about this recent celebration of the gentrified city that rankles.
Read moreThe most striking change on white supremacist websites involves mediacasts and post links to other media.
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NBC’s resurrection of (The) Bionic Woman has prompted me to think through the contemporary relevance of bionics, and map its reintroduction against the popular imaginary of the mid-1970s.
Munt examines the fragmentation of the contemporary screenscape – and the screen-anxiety it produces
Will YouTube provide a partcipatory space for citizens in the upcoming election?
Two of our senior editors take on HBO’s newest dramatic offering, Tell Me You Love Me.
How has YouTube transformed the study of choreography and the way we think about movement?
What happened to the transgressive pleasures of Aeon Flux when it moved from small screen to large?
As television continues its transfer over to the digital and networked existence, the Internet will be playing an essential part of that process. Ensuring fair and equitable access will require understanding the nature of the Internet–which is both decentralizing and centrifugal.
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