A Critical Forum on Media and Culture
A Critical Forum on Media and Culture
In this column, Rogerson offers a textual and industrial analysis of the self-reflexive Disney+/Pixar series Dream Productions and the animation unit’s short-lived approach to streaming series.
Read moreThis column examines Alfonso Cuarón’s Disclaimer on AppleTV+, exploring how its production and promotion as a “cinematic” auteur-driven series reflect broader industry strategies.
Read moreIshita Tiwari examines how India’s leading media consulting firm, Ormax Media, measures the popularity of the country’s OTT platform content.
Read moreDr. Lauren Steimer explores how the 2024 Oscars video tribute to stunt work functions primarily as a promotional segment.
Read moreCourtney Brannon Donoghue explores Barbie’s successful release amidst Hollywood’s short-sighted tendency towards plastic representation.
Read moreLauren Steimer elaborates on the dangers of on-set stunt work.
Read moreKate Fortmueller explores the ramifications of contemporary labor conflicts on the entertainment industry in the digital landscape.
Read moreFinley Freibert intervenes with traditional interpolations of gay activism in the 1960s and 1970s to investigate media activism performed in the name of gay and democratic socialist liberation.
Read moreKit Hughes explores the cable industry’s dual missions to uphold quality programming for children while pushing for deregulation.
Read moreKatherine E. Morrissey explores how the recent successes (and failures) of Crazy Rich Asians and To All The Boys I’ve Loved Before illustrate two emerging distribution strategies for rom-coms within the increasingly global media market.
Read moreKatherine E. Morrissey explores the evolution of the romantic comedy and its audience since the 1980s in order to understand the contemporary “rebirth” of these films.
Read moreMihaela Mihailova brings attention to the diversity problem in animation—both on screen and in the industry—and examines a crop of contemporary programs responding to the call.
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