A Critical Forum on Media and Culture
A Critical Forum on Media and Culture
Tim Havens considers Netflix as a case study to develop a typology for studying the role of algorithmic audience analysis in commercial African American streaming culture.
Read moreCameron Lindsey and Lesley Willard, the Managing Editors for Volume 24 of Flow, introduce a special issue that ushers in the journal’s new, broader focus on media and culture.
Read moreThe creator of the popular “webcomic,” Lego Grad Student, reflects on becoming a “micro-influencer,” the emotional toll of academia, and the function of social media with a dose of dry wit.
Read moreChelsea McCracken considers Revry – the LGBT Netflix – alongside historical responses and successes of LGBTQ production companies, distribution platforms, and film festivals.
Read moreEvan Elkins discusses live television piracy, questions its disruptive power, and contrasts it with former understandings of media piracy and televisual flow.
Read moreMichael Newman discusses the gif as a new vernacular allowing gif sharers to display their interiority on digital platforms and interrogates how commercial interests are creating a canon of gif expression.
Read moreWhitney Phillips and Ryan Milner introduce us to Sparkle Hair Scully and Cat Interrogation Mulder as examples of how humor and jokes operate online and how a “joke” without context can be as far from humorous as possible.
Read moreAndrew J. Bottomley considers Radio + Love, a non-narrated podcast that gives voice to individuals that are typically marginalized or subcultural but does little to challenges the shortcomings of neoliberalism.
Read moreBonni Stachowiak, host of the Teaching in Higher Ed podcast, discusses the captivating nature of podcasts, the difference between podcast and AM/FM listenership, and how her podcast has impacted her pedagogy.
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 moreAshlynn d’Harcourt explores gender-based double standards for comedians through an analysis of the media backlash to Kathy Griffin’s participation in a photo shoot with a Trump mask covered in fake blood. Stand-up is conceptualized as a descendant of vaudeville and anarchistic comedy to better understand the comedian’s craft and motivations.
Briana Barner explores the controversial digital commercial published by hair care company Shea Moisture, and the immediate backlash it received.
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