Protected: Work Songs: Tiny Desk Concerts Reimagines Music Video and Public Radio
Eric Harvey / Grand Valley State University
There is no excerpt because this is a protected post.
Read moreTag: Volume 31
Protected: Work Songs: Tiny Desk Concerts Reimagines Music Video and Public Radio
Just Pretend: Elvis Girlies, Social Media and Embodied Play
Eleanor Patterson / Auburn University
Eleanor Patterson explores how Elvis Girlies “play around” with history.
Read more“What Sort of Dreams Should We Be Making?”: Pixar Creative Culture and the Crisis of Disney+
Ben Rogerson / Texas Tech University
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 moreThe Return of Global Sisterhood? The Transnational Journey of the 4B Movement on TikTok
Jinsook Kim / Emory University
Kim explores the 4B movement as a transnational form of feminism that has been cultivated through digital platforms.
Read more Automated for the People
Gerald Sim / Florida Atlantic University
This article discusses the intersection of technology and creative labor, focusing on the impact of AI tools on video editing and the broader media industry.
Read moreA Quiet Revolution? Cinema Programming in the Era of Artificial Intelligence
Roderik Smits / Erasmus University Rotterdam
Roderik Smits explores how AI is shaping the landscape of film programming and distribution.
Read moreDisclaimer, Anonymous Content and single series auteur-directed television
Andrew Stubbs-Lacy / Staffordshire University
This 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 moreTikTok is Television, Television is TikTok
Michael Z. Newman / University of Wisconsin-Milwaukee
Michael Z. Newman explores the convergence of television and TikTok, arguing that platforms like TikTok embody television’s fragmentary logic and attention-driven economy, transforming late-night shows like After Midnight into viral, internet-native content.
Read moreFinance, Decadence, and Me You Madness
Andrew deWaard / University of California, San Diego
Andrew deWaard discusses how Louise Linton reflects the issues surrounding capitalism both on and off-screen.
Read moreAnd You Love The Game: Stream-Pop as a Never-Ending Scavenger Hunt
Eric Harvey / Grand Valley State University
Eric Harvey discusses how contemporary music stardom pulls fans and commentators into a rabbit hole of never-ending engagement.
Read moreThe Higher the Hair, The Closer to God: On Queen Charlotte’s Wigs
Jacqueline Johnson / University of Pittsburgh
Jacqueline Johnson examines the deeper significance of the wigs in Netflix’s Queen Charlotte.
Read moreExtreme Weather as Everyday Genre in Subway Flood Videos
Juan Llamas-Rodriguez / University of Pennsylvania
Juan Llamas-Rodriguez explores how subway flood videos transform extreme weather from spectacle into genre. As infrastructure crumbles under climate-induced disasters, viewers shift between individual frustration and collective crisis awareness. These videos blend intimate, smartphone-captured perspectives with a wider, omniscient view of urban vulnerability, bridging personal experience with public crisis. In doing so, they force audiences to confront their roles in a destabilising climate.
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