A Critical Forum on Media and Culture
A Critical Forum on Media and Culture
Charisse L’Pree examines the historical representation of women in the sitcom and traces the development of what she terms the “Single City Girl” archetype.
Read moreCasey McCormick uses the Twitter reaction to the end of the Obama administration as a jumping off point to explain why finales matter and how audiences express an ambivalence regarding the ends of longform televisual storytelling.
Read moreMeg Hansen describes the “styled identity” and its articulation in Gossip Girl (2007-2012), demonstrating the dialogic between aesthetics and female identities, self-presentation and selfhood, in the specular economies of postmodern media and culture.
Read moreAlexis Carreiro explores Ghostbusters‘s (2016) deployment of a queef joke in relation to the gendered history of fart jokes and the feminist implications of and social strictures against women making noise, both bodily and politically.
Read moreGermaine Halegoua considers how virtual assistants like Alexa represent a shift from the imagination of the smart home as a space of ambient screens to ambient interfaces for continual background listening.
Read moreSushant Kishore explores digital media, the performance of communitas and political partisanship, and posthuman social media communities through a comparative discussion of India’s 2014 General Election and the U.S. 2016 Presidential Election.
Read moreSuzanne Enzerink looks at Sikhtoons and other popular culture challenges to Muslim and Muslim-perceived stereotypes.
Read moreChristopher M. Cox argues for a media industries framework to better understand the production, dissemination, and consumption of fake news.
Read moreIn her contribution to the Flow Special Issue on Loop Media, Toby Lee considers the multiple and repeating uses of looped documentary media in the national September 11 Memorial Museum, examining their their particular sense of timelessness and their relationship to collective historical trauma.
Read moreIn his contribution to the Flow Special Issue on Loop Media, Colin Beckett discusses the GIF — the most visible looped media form — in relation to the conventions of early cinema, news and online journalism, and avant-garde art, as well as social media self-promotion.
Read moreIn her contribution to the Flow Special Issue on Loop Media, S. Topiary Landberg argues for the benefits and potentials of loop narratives and circular forms as a productive alternative to dominant linear logics; where she sees such linear narratives and modes as patriarchal, controlling, and predetermined, loops provide for the expression of “experiences of change and growth to be inclusive and fundamentally non-combative and non-competitive.”
Read moreIn her contribution to the Flow Special Issue on Loop Media, Lyn Goeringer uses enunciation theory and the work of Émile Benveniste and Anette Vandsø to consider looping practices in audio recording generally, and in the music of Delia Derbyshire and Daphne Oram specifically.
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