tag:blogger.com,1999:blog-11971819013999703062024-03-19T04:49:52.567-07:00CTCS 587: TV Theory Spring 2016Tara McPhersonhttp://www.blogger.com/profile/09874394027026185133noreply@blogger.comBlogger142125tag:blogger.com,1999:blog-1197181901399970306.post-8720433534382703792016-04-20T01:47:00.004-07:002016-04-20T01:48:30.597-07:00Pirate Cinema: Hacking, torrents, and boundaries<span style="background-color: white;"><span style="font-family: inherit;">In thinking through some of the themes from this week and the week before, I was reminded of an installation that went up at a gallery I worked at in Montreal in 2013. It was called "The Pirate Cinema," by hacker artists Nicolas Maigret and Brendan Howell, and was comprised of 3 screens set up in a room that live-streamed peer-to-peer media in real time. Here was the artists' statement during the festival: </span></span><br />
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<span style="background-color: white;"><span style="font-family: inherit;">"<span style="text-align: justify;">In the context of omnipresent telecommunications surveillance, “The Pirate Cinema” makes visible the invisible activity and the geographic implications of peer-to-peer file sharing. The project is presented as a control room, which instantly reflects P2P exchanges happening in real time on networks, which use BitTorrent protocol. The installation produces an improvised and syncopated arrangement of files currently in exchange. The immediacy of the presentation of digital data, including fragmented information about source files and their destinations, depicts the topology of digital information use and the global reach of data dissemination.</span><span style="text-align: justify;">" </span></span></span></div>
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<span style="background-color: white;"><span style="font-family: inherit;"><span style="text-align: justify;">(source: </span></span></span>http://www.easternbloc.ca/sightsound2013-26may.php)</div>
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<span style="background-color: white;"><span style="font-family: inherit;"><span style="text-align: justify;">Having seen the installation firsthand, I can attest to its mesmerizing quality, somewhere between the experience of flipping channels -- surrendering a certain amount of control as a viewer, unable to choose what came next -- and scrolling through a website like Tumblr, moving quickly between snippets of diverse content. Watching media -- predominantly American television, pornography, and music videos -- travel quickly across the globe, very often through networks that never required a file to pass through the United States, was a fascinating way to think about sharing of media and the ways that online media feels utterly divorced from its real-world origins and history of circulation once it gets to us. Who are these "peers" with whom we enter into contractual, anonymous agreements about sharing media? </span></span></span><br />
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<span style="background-color: white;"><span style="font-family: inherit;"><span style="text-align: justify;">It seems that the official website for the installation is still live: </span></span></span>http://thepiratecinema.com/ if anyone is interested.<br />
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I think this piece raises a lot of interesting questions not only about rights and surveillance, but about the ways that the Web both is and is not a community, the ways that dominant discourses reproduce themselves across national borders and the ways that the Web can undermine those borders, and equally, what it might mean to think about the Internet as art, as performance, as a site of resistance, and as a form of the televisual. I'd love to hear what you guys think of it!Emma Ben Ayounhttp://www.blogger.com/profile/10667834450903586879noreply@blogger.com5tag:blogger.com,1999:blog-1197181901399970306.post-66806556193993800212016-04-19T23:36:00.002-07:002016-04-19T23:36:51.933-07:00Archer goes NoirI'm not sure how many other people have been keeping up with the newest season of Archer (after all the schenanigans of delaying the season 7 premiere with the creators completely reworking the show) but it's back and it's greater than ever. <i>Archer</i> decided to take on the Noir. I wonder how we can consider genre about a show that is so multifaceted that it's just taking on particular genres and playing with them from season to season. Two seasons ago we had Archer Vice, and now Noir/Police Procedural. It's unclear if from merely the season opener if this will be the last season of the show (watch the first episode of season 7 to find out why) but as we move forward in our paratext, referential, hybrid-genre spewn world, when do we consider these hybrids to be creating their own moments? Unclear, but if you're obsessed with Hollywood noir films or with older cop procedurals, definitely go see if you can find the easter eggs pretty blatantly scattered throughout and often subtly named in the episodes. I've attached the season teaser to this, but I'd love to hear what y'all think.<br />
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<br />amaliacharleshttp://www.blogger.com/profile/01826396352161839506noreply@blogger.com1tag:blogger.com,1999:blog-1197181901399970306.post-42210936756492299142016-04-19T20:01:00.000-07:002016-04-19T20:21:13.008-07:00Core Post 5: I like Youtube<span id="docs-internal-guid-86192834-310f-fbe8-fa2a-341893c02b64"><span style="font-family: "arial"; font-size: 14.6667px; vertical-align: baseline; white-space: pre-wrap;">So much of the “television” I watch nowadays consists of Youtube tutorials, vlogs, and haul videos. </span></span><br />
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<i>Show me how much washi tape you bought today.</i></div>
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<span style="font-family: "arial"; font-size: 14.6667px; white-space: pre-wrap;">I like to think that this avoidance of cinematic, narrative, scripted, and produced content represents a burgeoning interest in the kind of "new media" we've been talking about throughout the semester and NOT an indication that my brain has already shut itself down for (eternal) summer vacation. In any case, I look at this subset of Youtube videos, which fall into the recently profitable 'Lifestyle' category of social media content, as being specially positioned at the intersection of multiple discourses from this and past weeks: TV and the Internet, producers and consumers, private and public space, personal authorship and commercial sponsorship. </span><br />
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<span style="font-family: "arial"; font-size: 14.6667px; vertical-align: baseline; white-space: pre-wrap;">In "Reload: Liveness, Mobility, and the Web," </span><span style="font-family: "arial"; font-size: 14.6667px; white-space: pre-wrap;">Tara McPherson (Hi!! :-D) identifies the initial distinctions between television and the Internet (in its relative infancy) that have become so nebulous today. While both mediums are united by and contingent upon an "illusion of liveness," TV was historically seen as a passive experience, through which audiences were encouraged to identify with onscreen content via a fixed gaze. In contrast, the Web represents three different "modalities of experience," categorized by McPherson as: v</span><span style="font-family: "arial"; font-size: 14.6667px; line-height: 1.38; white-space: pre-wrap;">olitional mobility, the <i>scan-and-search,</i> and transformation. To summarize them: 1) A sense of mobility and agency driven by volition is represented by the cursor, which marks our presence and trajectory, tracking "clicks" or choices that “guide” our virtual movements; thus desire is formed and transmitted through the processes of “liveness” or “real time.” 2) </span><span style="font-family: "arial"; font-size: 14.6667px; line-height: 1.38; white-space: pre-wrap;">The scan and search is an expression of volitional mobility, a lateral impulse toward 'the next thing' rather than an imposed unity or fixed gaze (as with TV). And finally 3) </span><span style="font-family: "arial"; font-size: 14.6667px; white-space: pre-wrap;">The promise of transformation is embedded in all Internet processes for they offer the opportunity to “[remake] information into a better reflection of the self” (205). Of course these modalities of experience are often a by-product of corporate machinations and are not without ideological consequences. McPherson questions how Web spaces might train their users for a "new Neo-Fordist experience" (207) and "enable specific selves and particular publics" (205).</span><br />
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<span style="font-family: "arial"; font-size: 14.6667px; white-space: pre-wrap;">While Youtube is a media exhibitor with its own structures of engagement distinct from other websites, Youtube Lifestyle videos (haul vids, vlogs, reviews, and tutorials) do engage with ideas of desire and liveness through apparent authorship. With roots in lifestyle blogging, many Youtube "authors" have capitalized on bedroom content creation as a democratic and transparent space through which corporate bodies (such as those mentioned in McPherson's article) might be counteracted or filtered out. The subjects, hosts, authors, and producers of these videos are the Everyman or Everywoman, teaching viewers how to successfully apply a smokey eye from a fellow consumer's perspective. Yet desire and liveness play a key role in the videos' educative appeal: one key aspect of engagement is the viewer's identification with the video producer. Check these GRWM (Get ready with me) videos (1.6 million results!!): </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKCW45L7G4Or5uDTqU5kTq90snrOeC8fUmtmCsux3CBCugy5Qx-rUFaY5Mt67RptYCkGElfe6W6WDSRCUHtI61oqRjFKh-jXIs-DZffIW-RFPXNusj9r6pNv_Yr8fUoBscCLlQNp4DyQw/s1600/Screen+Shot+2016-04-19+at+6.45.22+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKCW45L7G4Or5uDTqU5kTq90snrOeC8fUmtmCsux3CBCugy5Qx-rUFaY5Mt67RptYCkGElfe6W6WDSRCUHtI61oqRjFKh-jXIs-DZffIW-RFPXNusj9r6pNv_Yr8fUoBscCLlQNp4DyQw/s320/Screen+Shot+2016-04-19+at+6.45.22+PM.png" width="320" /></a></div>
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<span style="font-family: "arial"; font-size: 14.6667px; white-space: pre-wrap;">Viewers get to feel like they are occupying the same time and space as the producer, and producers work hard to make it feel as if the video is a collaborative effort and shared experience -- the assumption is that together, producer and consumer are getting ready for a night out or unboxing a new product or driving to check out a new coffee shop. Such an intimate unveiling of personal life thus becomes an avenue of commerce and instruction: as producers build relationships with their viewers, they not only expect participation in return (Subscribe, comment, and share plz!), but implicitly adopt positions of power through the subject position. One need only look at "career" or "veteran" Youtubers such as Zoella, Michelle Phan, Pixiwoo, and Jenna Marbles to locate how an industry can be built around the "I" of a video blog--via the merging of work and leisure, research and entertainment, labor and merchandise, within what McPherson calls a "neo-Fordist feedback loop" (206). Furthermore, as companies and corporations have become alert to the power of the lifestyle vlogger, sponsorships, advertisements, endorsement deals have emerged as a by-product and marker of their success.</span><br />
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<span style="font-family: "arial"; font-size: 14.6667px; white-space: pre-wrap;">Not only can you be a Youtube <a href="http://www.business2community.com/youtube/youtube-stars-influence-beyond-the-video-platform-01373001#B5uroQMyST6yBg8r.97">partner</a>,</span><br />
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<a href="http://www.cosmeticsdesign-asia.com/var/plain_site/storage/images/media/images/kim/10082148-1-eng-GB/KIM_large.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://www.cosmeticsdesign-asia.com/var/plain_site/storage/images/media/images/kim/10082148-1-eng-GB/KIM_large.png" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjctS_y3kpJ0HdMEjcWBUMsPZmh1rRCDJHp9kXeahBNnHGpid9ckPzlvVZoo-jQu8XWtlJdrLLJB4dU7OwEHOUbjznX6pjjr9oixKGwtb_7XZh-3t6_3B2tufDpoVB0Dyy5zk_68UFJcXE/s1600/Screen+Shot+2016-04-19+at+7.52.27+PM.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjctS_y3kpJ0HdMEjcWBUMsPZmh1rRCDJHp9kXeahBNnHGpid9ckPzlvVZoo-jQu8XWtlJdrLLJB4dU7OwEHOUbjznX6pjjr9oixKGwtb_7XZh-3t6_3B2tufDpoVB0Dyy5zk_68UFJcXE/s320/Screen+Shot+2016-04-19+at+7.52.27+PM.png" width="320" /></a><span style="font-family: "arial"; font-size: 14.6667px; white-space: pre-wrap;"> </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBraJbRbVLBsk8bgV9V1rNWYChrvSlxO8UcYCA03tRzEBQ42BaKjhr8V7cDz99hdrHlcY_mOw3B7ZwCwt88sNC3Dim-79m9ZCosZDTTFecObEVtwXzxX-oxKmHLQFVlnn6nPc_uuvrqT0/s1600/Screen+Shot+2016-04-19+at+7.59.20+PM.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBraJbRbVLBsk8bgV9V1rNWYChrvSlxO8UcYCA03tRzEBQ42BaKjhr8V7cDz99hdrHlcY_mOw3B7ZwCwt88sNC3Dim-79m9ZCosZDTTFecObEVtwXzxX-oxKmHLQFVlnn6nPc_uuvrqT0/s320/Screen+Shot+2016-04-19+at+7.59.20+PM.png" width="316" /></a><span style="font-family: "arial"; font-size: 14.6667px; white-space: pre-wrap;"><br /></span><br />
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<span style="font-family: "arial"; font-size: 14.6667px; white-space: pre-wrap;">This has sparked a pretty recent conversation (though long in the making) about transparency, trust, and industry practice, in which consumers have begun to draw dividing lines and to negotiate the conditions of their loyalty within the creator/consumer relationship: </span><br />
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<span style="font-family: "arial";"><span style="font-size: 14.6667px; white-space: pre-wrap;"><a href="https://www.socialmediaexplorer.com/social-media-marketing/disclosures-for-bloggers-and-brands/">New FTC guidelines for sponsored content </a></span></span><br />
<span style="font-family: "arial";"><a href="http://beautyeditor.ca/2016/04/09/beauty-blog-disclosure">Can You Really Trust a Beauty Blogger?</a></span><br />
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<span style="font-family: "arial"; font-size: 14.6667px; white-space: pre-wrap;">More things to think about: How do Youtube and Youtubers continue to structure the volitional viewing experience for their watchers? How might the 'double construction' of such content both indoctrinate and alert viewers to their own practices of image construction? </span><br />
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<span style="font-family: "arial"; font-size: 14.6667px; white-space: pre-wrap;"><br /></span>Anonymoushttp://www.blogger.com/profile/02877624252111237792noreply@blogger.com14tag:blogger.com,1999:blog-1197181901399970306.post-5642936411076424782016-04-19T16:46:00.000-07:002016-04-19T16:46:51.895-07:00Core Post 5
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<span style="font-family: "Times New Roman";">The readings for this week examine how
television (in its industrial, aesthetic, and spectatorial capacities)
constitutes itself when untethered from an actual, physical television. This move
“Outside the Box,” to borrow Amanda Lotz’s title for this week’s article, disrupted
the spatiotemporal predictability previously thought a given of the medium. It
is this disruption that Lotz charts in her article. Many of the industrial
obstacles Lotz notes involve the emergence of what she calls “convenience
technologies,” which include the DVR, VOD, and DVD. Networks previously relied
on a certain level of audience passivity, in order to predict that viewers
would remain physically planted and attentive to advertisements. Convenience
technologies turns the audience from a passive recipient of television’s
temporal flow (bringing us back once more to Raymond Williams) to an active
craftsperson of that flow. The obstacle for advertisers and networks, then, is
to construct predictability within this newly individualized temporality.</span></div>
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<span style="font-family: "Times New Roman";">Lotz is right to note that these
technologies put viewership dictates in the hands of the viewers themselves; at
least for a time, because as Debbie Harry assured us, the industry is “gonna
getcha one way or another.” Lotz also tracks the dark side of convenience
technologies, noting the ways that these conveniences develop dependencies that
provide a more acute managerial watchfulness. These convenience technologies
double as another manifestation of Bentham’s panopticon, because while they
bring the viewer closer to pleasure it is only insofar as they bring the viewer
closer to their occupational duties. The employer knows where their employee is
located: on the other end of the line.</span></div>
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<span style="font-family: "Times New Roman";">This is admittedly a rather pessimistic
reading of post-TV technological developments. However, I do concede that there
are consumer and audience-driven benefits that come from these convenience
technologies. The increased connectivity and communizing that results from such
convenience allows for a quicker dissemination of news, politics, and
grassroots organizing. These spaces within digital media allow for viewers to
remain active in spite of the watchfulness. That is, until the next technology
arrives.</span></div>
Jonhttp://www.blogger.com/profile/09536542390543039377noreply@blogger.com6tag:blogger.com,1999:blog-1197181901399970306.post-14389657468176749462016-04-19T14:35:00.002-07:002016-04-19T14:35:38.456-07:00Core Post 5: Post-TV Tastes<div class="MsoNormal" style="text-indent: .5in;">
In “Reload: Liveness, Mobility, and
the Web,” Tara McPherson asserts the need for a medium-specific phenomenology,
and not just an ontology, of the Web: that is, beyond simply defining the Web
as a medium, she is interested in “how the Web constitutes itself in the
unfolding of experience” (201), in the ways it relates to and interacts with
its users, and more specifically, the way it can “structure certain
experiential modalities for the user [which can help to] situate that user
within particular modes of subjectivity and within the networks of capital”
(201). That is, the Web-browsing subject is of special interest to McPherson not
just for the ways s/he is interpellated and constituted not only by the Web but
by those social, historical, and economic realities that structure the Web
itself. McPherson is also interested in the ways that a phenomenology of the
Web might further help us understand the medium’s crucial differences from
television. For example, while “liveness” is an important part of the
experience of both television and the Web, McPherson notes that “the Web
structures a <i style="mso-bidi-font-style: normal;">sense of causality</i> in
relation to liveness, a liveness which we navigate and move through, often
structuring a feeling that <b style="mso-bidi-font-weight: normal;">our own
desire drives the movement</b>” (emphasis mine, 202). It is movement, rather
than presence, that constitutes the particular liveness of Web browsing.
McPherson goes on to trace the multiple and overlapping
temporalities/spatialities engendered by the Web, and the (illusion of) choice
and autonomy we experience within these temporalities, designating this
“volitional mobility.” She describes the “scan-and-search” as the Web’s version
of flow, the economies of attention and information once again predicated on a
basic sense of agency or activity (rather than passivity) that is so
fundamental to our experience of the Web. Ultimately, however, the kinds of
power that we perceive ourselves to have when we use the Web, according to
McPherson, are enormously, if not <i style="mso-bidi-font-style: normal;">inevitably</i>,
bound up with the same hegemonies that are at play in other, older media – the
Web engages “the user’s desire along different registers [from television,
malls and freeways, as Margaret Morse writes] which nonetheless still
underwrite neo-Fordist feedback loops” (206). Corporate, capitalist interests
still loom large, even if they have gotten better at hiding themselves. <o:p></o:p></div>
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To refer back to my emphasis above,
the reference to the importance of feeling like one’s own <i style="mso-bidi-font-style: normal;">desire</i> translates directly into action calls to mind, for me, the
work of Pierre Bourdieu, who, in <i style="mso-bidi-font-style: normal;">Distinction:
A Social Critique of the Judgment of Taste</i>, outlines the ways in which
‘personal taste’ – in things as innocuous as food, travel, sport – is never quite
as personal or autonomously construed as we would like to imagine it to be, but
is instead always embedded within a set of social, cultural, and economic
expectations, assumptions, and aspirations. In discussing art, for example, he
writes, “any legitimate work tends in fact to impose the norms of its own
perception and tacitly defines as the only legitimate mode of perception the
one which brings into play a certain disposition and a certain competence”
(Bourdieu 28). He then notes: “the apprehension and appreciation of the work
also depend on the beholder’s intention, which is itself a function of the
conventional norms governing the relation to the work…in a certain historical
and social situation and also of the beholder’s capacity to conform to those
norms” (Bourdieu 30). When we move through the spaces of the Web, particularly
those which more explicitly share something with the experiences of art –
streaming television, to be sure, but also social media sites like Facebook,
Instagram and Tumblr which allow users to curate, construct, display, and
critique their own work and others’ – the notion of ‘taste’ and ‘distinction’
between better and worse, more or less legitimate content is profoundly
informed by social class and other subject positions. In considering a
phenomenology of the Web as we experience it in 2016, and particularly for a
generation for whom identity is so profoundly wrapped up in the construction of
Internet personae, I think McPherson’s phenomenology of the Web raises interesting
questions about why we like the things we Like. <o:p></o:p></div>
Emma Ben Ayounhttp://www.blogger.com/profile/10667834450903586879noreply@blogger.com9tag:blogger.com,1999:blog-1197181901399970306.post-33152643952654397632016-04-19T13:12:00.001-07:002016-04-19T13:12:03.913-07:00The Volitional Mobility of Chatroulette: Live Action FPS games [core post 5]<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Due to what is either incredible coincidence, or more likely a rather timely and self-evident proof of the value of Tara’s arguments about the ontology of the web, I happened to watch <a href="https://www.youtube.com/watch?v=p747PrxmZJ4" target="_blank">the perfect YouTube video </a>just before reading her article. With an impressive 10 million views, it’s a recorded video of several once-live events mashed together: random individuals on Chatroulette who found themselves faced with the option to play a “live action first person shooter” (FPS) game instead of, well, chat (or whatever it is folks get up to on Chatroulette). The invitation to read the entirety of Tara’s article in light of this serendipitous piece of web media is too tempting for me to resist. </span></div>
<b id="docs-internal-guid-ea5972f1-301f-1f3b-cd3e-83c56b6d13a7" style="font-weight: normal;"><br /></b>
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">As Tara pointed out, the web itself is </span><span style="background-color: transparent; color: black; font-family: Arial; font-size: 14.666666666666666px; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">about</span><span style="background-color: transparent; color: black; font-family: Arial; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> liveness: both ideologically and ontologically, whether illusory or not. Her argument that </span><span style="background-color: transparent; color: black; font-family: Arial; font-size: 14.666666666666666px; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">choice </span><span style="background-color: transparent; color: black; font-family: Arial; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">and </span><span style="background-color: transparent; color: black; font-family: Arial; font-size: 14.666666666666666px; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">mobility </span><span style="background-color: transparent; color: black; font-family: Arial; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">(volitional mobility) work with this sense of liveness to produce the defining web experience is echoed by both Parks and Lotz, but in neither is it articulated so clearly as here: “Thus, unlike television which parades its presence before us, the Web structures a </span><span style="background-color: transparent; color: black; font-family: Arial; font-size: 14.666666666666666px; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">sense of causality</span><span style="background-color: transparent; color: black; font-family: Arial; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> in relation to liveness, a liveness which we navigate and move through, often structuring a feeling that our own desire drives the movement” (202). </span></div>
<b style="font-weight: normal;"><br /></b>
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Currently, the desire for liveness is most evident in the popularity of sites of live streaming (like Twitch), but the sense of autonomy is typically more limited--hence the caveat about the largely illusory nature of choice. Viewers can navigate to whatever live streaming video game they choose on Twitch, but it is the streamer who makes all in-game choices. The viewer is still more a viewer than a participant, despite the limited interactivity of the chat box.</span></div>
<b style="font-weight: normal;"><br /></b>
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Sites like Chatroulette that offer two-way simulcasting seem more promising in terms of offering choice on both sides: you can choose your stream, choose what you’ll stream, and interact with the other streamer if you like. Though the creative potential of this model is not often pushed to its boundaries, rare occurrences like the above-mentioned live streaming FPS do happen. This case is a perfect example of volitional mobility taken to the furthest boundaries allowed by the medium. Players control the “character” (a live human cosplaying as a FPS character) through verbal and text commands given in real time. They watch the “character” move through the physical world according to their commands, navigating elaborately decorated dungeonesque spaces and firing prop weapons at costumed monsters. The “character” actually talks back to the players, offering limited guidance to help players confused by the novelty of this experience. The volitional mobility of this experience is remarkable, and about as open to possibility as is physically allowable, given that players can give any verbal command they wish and are not limited in any way by the interface itself. Ordinary FPS games give similar illusions of choice, but because players interact with computers instead of humans, choice must stay within the boundaries of the programming.</span></div>
<b style="font-weight: normal;"><br /></b>
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">That’s not to say this event is entirely open--players are restricted to commands that are logically and physically possible, of course (no use asking the character to jump 6 feet high, for example. You *can*, but the character will be unable to fulfill the request). Furthermore, no matter how expansive the environment and narrative, there are still boundaries between the “in game” world and the ordinary world. Should players try to leave the confines of the game, they would surely be redirected toward the pre-planned narrative options. However, because this game is based on human-human interaction instead of human-computer, there seems to be significantly more flexibility in terms of such narrative containment, and each iteration is necessarily improvised. </span></div>
<br />
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: Arial; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Of course, only a few lucky folks had the opportunity to play this game live. Most experience it in dead, pre-recorded form on YouTube, where none of the choices belong to the viewer, making it more like the standard experience of web television. Perhaps due to the obviousness of the choice available to the original players that are unavailable to most viewers, a sense of scan-and-search anxiety seems pervasive throughout. Like with both VR and <a href="https://www.youtube.com/watch?v=uvkwAlaDais" target="_blank">360 degree videos</a> (in which viewers must use their cursors to move the camera around the pre-recorded video) a willingness to tolerate (or perhaps even a desire for) this anxiety around potentially missing information--the narrative branch not taken, the corner left unexamined--is a prerequisite for participation. </span></div>
Danielle Choihttp://www.blogger.com/profile/05418207669994314527noreply@blogger.com4tag:blogger.com,1999:blog-1197181901399970306.post-45997012737554219302016-04-19T12:24:00.002-07:002016-04-19T12:24:52.593-07:00Core Post #5: Post-TV<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-indent: 42.55pt;">
<span lang="EN-US" style="font-family: "Times New Roman"; mso-ansi-language: EN-US;">In “Flexible Microcasting: Gender, Generation, and
Television-Internet Convergence”, Lisa Parks discusses the cultural and social
impacts of ‘postbroadcasting’ television practices. “Convergence is not just
about the coming together of technical systems; it involves the shifting
meanings of converging technologies as well.” (134) Giving special attention to
representations of gender, class and race, Parks analyses current discourses
towards this new combination of television and computer technologies.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; mso-ansi-language: EN-US;">One of the aspects discussed in her articled that I
found to require further thinking was the idea of the switch from television as
a collective experience to an individual practice. Parks claims that industry
leaders have been interpreting this new age of 'postbroadcasting' as the era of
‘personal television’. Indeed, most entertainment platforms today require a
personalized account that will provide the viewer suggestions tailored
according to their individual preferences. It is almost as if our television habits
are now under surveillance – it seems impossible to watch <i style="mso-bidi-font-style: normal;">Orange Is The New Black </i>without being bombed by Netflix with
suggestions for <i style="mso-bidi-font-style: normal;">Lost Girl</i> and <i style="mso-bidi-font-style: normal;">The L Word</i> (Netflix doesn’t seem to know
I have watched them all already…). Even though it seems kind of scary to take
into consideration that all of these online platforms keep track of our
personal tastes, there is also an element of convenience to this experience. It
is just more comfortable to have your next show to binge brought to you instead
of having to search for them yourself.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; mso-ansi-language: EN-US;">There is a new tendency in the entertainment market,
and networks and streaming platforms seem to be investing all of their
creativity to join the competition. With content available in multiple
platforms, one could argue that democratization of television has reached its
higher point. However, the financial borders of the industry persist to determine
who may access their entertainment content. YouTube, for instance, have
recently launched YouTube Red, a platform that offers premium music, commercial
free videos, and original content with your favorite YouTubers, for “only”
$9,99/month. While some familiarize with the most convenient television habits
so far, many others remain excluded from this experience.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; mso-ansi-language: EN-US;">In Post-TV, those who can afford it have the
opportunity to schedule their own programming, a tendency that Parks identifies
as the removal of spontaneity. Aside from big events on broadcast networks—and
certain shows that behave as such—the exercise of watching television seems to be
becoming an individual, lonely practice.<o:p></o:p></span></div>
Anonymoushttp://www.blogger.com/profile/00986449357611353392noreply@blogger.com14tag:blogger.com,1999:blog-1197181901399970306.post-15592313960946293482016-04-18T10:43:00.002-07:002016-04-18T10:48:01.662-07:00Core Post 5Given that a couple weeks ago, I identified Margaret Morse's "An Ontology of Everyday Distraction" as my favorite article of the semester, I was fascinated by the questions Tara raises in her article this week (at one point, she cites Morse) regarding the promise and illusion of volition and mobility in television's convergence with the internet. Tara explains how corporate media sites provide "experiential lures," both in the medium's essence (processing as transformation) and strategy (how portal sites constrict the surfer's movement). I'm reminded not only of how Facebook ostensibly provides links to web content everywhere, but merely opens a nested Facebook browser rather than the user's preferred browser; also of the example Tara provides of search engines being limited databases that mask their curatorial algorithms (in the same way that Facebook curates my newsfeed). Her article is a great articulation of why surfing the web can be so addictive and feel empowering when in fact hours may go by that have very little effect on the world off the computer.<br />
<br />
In another class, I'm reading Lev Manovich's 2006 article, "The Politics of Augmented Space," and there is definitely a synergy between his ideas regarding the way physical space is overlaid by digital data (including examples, many of which we've discussed in TV Theory, such as surveillance, GPS maps, screens in public spaces, wearable technology, and "smart home" apps). Manovich questions whether this "layer" of data is merely invisible or if it actually transforms life by merging space and information in new ways.<br />
<br />
All of these articles also acutely remind me of the television broadcast I showed a clip from last week, Adam Curtis' <a href="https://en.wikipedia.org/wiki/All_Watched_Over_by_Machines_of_Loving_Grace_(TV_series)" target="_blank">"All Watched Over By Machines of Loving Grace" (2011)</a>, which investigates the Silicon Valley dream of a non-hierarchical network as a fantasy of political liberation, promoting individual engagement but diverting volition and ideas of personal transformation into a world ruled by corporate interests. Tara writes of users "expressing themselves" in reviews that provide Amazon with free content (similarly, we've talked about Yelp in class); Curtis highlights Carmen Hermosillo's influential 1994 online essay, <a href="http://folksonomy.co/?permalink=2299" target="_blank">"Pandora's Vox: On Community in Cyberspace,"</a> that interrogates the commodification of the individual.<br />
<br />
Curtis concludes by tracing wide feelings of political helplessness through recent stock market crashes, political revolutions such as the Arab Spring that have organized on the web but resulted in troubling chaos, and the popular Selfish Gene theory that undermines social action. Such examples highlight the conflict between utopian digital dreams and the realities of political mobility and transformation, but it's a complex relationship that requires further study and analysis. Tara's conclusion, that our digital experiences highlight a strong desire for movement and change, is encouraging to consider.Doug Cummingshttp://www.blogger.com/profile/10268503787259053322noreply@blogger.com4tag:blogger.com,1999:blog-1197181901399970306.post-51537870002504866292016-04-18T01:23:00.005-07:002016-04-18T01:26:46.414-07:00Core Post 5: It's their world -- we're just buying into it<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia, Times New Roman, serif;">Capitalism is very sneaky. It worms
its way into popular culture texts, imbuing each static image that is utilized
in the creation of the moving image with particular inscriptions of images that
either uphold the dominant paradigm or subvert it. <span style="color: black; font-family: Times;">More often than not, our mass-marketed, industry
created, popularly received media feeds us not only societal norms, but also
informs us how and what we should purchase. Choice acts as a double edged sword
in this ever changing, expanding/expansionless space/non-space. As every new
form of technology that creates more opportunities for “choice” for the viewer
also comes with the caveat that Lisa Parks outlines in her essay that we read
on page 134. In it she states that with the emergence of further choice that
the Internet brings the typical television viewer it also “allows programmers
to determine more accurately where and when viewers are in the media landscape.
In a sense, personal television makes every PC a Nielsen Household.” In saying
this, there is more of a reason for Industry creators to put their content on
the Internet, and to disseminate it in this way to understand the specifics of
their audience to a scale that they had not had before to determine how many,
where they were tuning in from, and even potentially the demographics of their
background (class, gender, race, etc) which would in turn help them to better
market their products to people that they would feel would be more inclined to
purchase them. While Parks goes on to talk about the “mobile privatization” of
Williams, and the further idea of “privatized mobility” that Lynn Spigel brings
to the table, what I wondered about was the ways in which users were subverting
these digital signatures to gain access to content without leaving digital foot
prints through mobilizing their bodies, technology, and agency through the physical space of Reality versus the projected non-space of the Digital. <o:p></o:p></span></span></div>
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<a href="http://www.awesomeinventions.com/wp-content/uploads/2015/03/pont-des-arts-paris-dead-drop.jpg" imageanchor="1" style="clear: left; display: inline !important; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><span style="font-family: Georgia, Times New Roman, serif;"><img alt="usb wall" class="size-full wp-image-44832 wp-caption aligncenter" src="http://www.awesomeinventions.com/wp-content/uploads/2015/03/usb-wall.jpg" height="132" style="text-align: left;" width="200" /></span></a><a href="http://www.awesomeinventions.com/wp-content/uploads/2015/03/pont-des-arts-paris-dead-drop.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><span style="font-family: Georgia, Times New Roman, serif;"><img alt="pont des arts paris dead drop" border="0" class="size-full wp-image-44820 wp-caption aligncenter" src="http://www.awesomeinventions.com/wp-content/uploads/2015/03/pont-des-arts-paris-dead-drop.jpg" height="148" width="200" /></span></a><span style="color: black; font-family: Georgia, Times New Roman, serif;">If the medium of television is, as Parks claims,
on the path where the public will be able to see it whenever and wherever they
want (can we say we’ve reached this point in 2016? I would argue yes but would
love to hear some other opinions) it is interesting to consider the ways in
which some viewers, consumers, and makers are subverting the system that wants
to commodify their existences through the media that they consume. Speaking
specifically of the existence of dead drops, of USB's with media content left in the world for individuals to find, upload and download content without the use of the Internet, I wonder if we'll see more rebellion against the status quo of data-mining that happens often unchecked. To end on a string of questions regarding audiences: What do we make of the subversion of typical media viewership when the audience takes matters into their own hands and disseminates the product through downloads? How do we negotiate this secluded, private space that they have reclaimed? I'd be interested in bringing back the topic of the surveillance of individuals more prominently through their technology - thinking back again to the xBox 1 Kinect fiasco, where the device would be able to <a href="http://gizmodo.com/5912104/kinect-can-read-your-facial-expressions-now" target="_blank">read facial expressions to better tailor their ads</a> to the consumer, how do we negotiate this as humans? How deep does the rabbit hole go? Can choice be created without a monetary reasoning behind the shift for dominant corporate created industry typical media? I wonder how the emergence of the pirate/subversive audience will check Industry practices of curtailing their content towards an individual that is understood through a categorization of social markers created and based out of the comparison to, to quote Sylvia Wynter, a particular referent-we that emerged after the Enlightenment to purport white masculinity as the ideal to strive for. I wonder how audiences are refusing categorization through their subversive acts as a political one, and how does the digital break down nation-states and foster the creation of particular popular texts as ways to understand ourselves? </span></div>
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amaliacharleshttp://www.blogger.com/profile/01826396352161839506noreply@blogger.com7tag:blogger.com,1999:blog-1197181901399970306.post-13299755593320535742016-04-17T23:42:00.000-07:002016-04-18T00:13:00.274-07:00Core Post 4: Why does the quality of HD get more page space that the classist nature of the medium?? - Lotz and Class <div class="s3" style="font-size: 18px; line-height: 21.600000381469727px; text-indent: 36px;">
<span class="s2" style="line-height: 21.600000381469727px;">While reading Amanda </span><span class="s2" style="line-height: 21.600000381469727px;">Lotz’s</span><span class="s2" style="line-height: 21.600000381469727px;"> piece for this week, I was struck by the lack of analysis of the particular individuals that made up the percentages</span><span class="s2" style="line-height: 21.600000381469727px;"> she was showing us</span><span class="s2" style="line-height: 21.600000381469727px;"> to prove her point of the dissemination of Television and televisual forms</span><span class="s2" style="line-height: 21.600000381469727px;"> and the power that the Internet held in disseminating new ideas across nations</span><span class="s2" style="line-height: 21.600000381469727px;">. </span><span class="s2" style="line-height: 21.600000381469727px;">Within </span><span class="s2" style="line-height: 21.600000381469727px;">her argument, while there is a pithy mention of mention in approximately 3 sentences near her conclusion, and only bringing up some of these issues</span><span class="s2" style="line-height: 21.600000381469727px;"> (specifically thinking about class)</span><span class="s2" style="line-height: 21.600000381469727px;"> in </span><span class="s2" style="line-height: 21.600000381469727px;">the last 1/3 of her writing, </span><span class="s2" style="line-height: 21.600000381469727px;">where </span><span class="s2" style="line-height: 21.600000381469727px;">she</span><span class="s2" style="line-height: 21.600000381469727px;"> only briefly </span><span class="s2" style="line-height: 21.600000381469727px;">makes</span><span class="s2" style="line-height: 21.600000381469727px;"> a slight nod at the subject</span><span class="s2" style="line-height: 21.600000381469727px;">, I felt that there was a distinct hole in her analysis that would have made for a more engaging </span><span class="s2" style="line-height: 21.600000381469727px;">theory and one that could have potentially been more engaging with the pitfalls of the medium</span><span class="s2" style="line-height: 21.600000381469727px;">. </span><br />
<span class="s2" style="clear: left; float: left; line-height: 21.6px; margin-bottom: 1em; margin-right: 1em;"><img height="297" id="doneImage" src="https://i.imgflip.com/12oiu1.jpg" width="400" /></span></div>
<div class="s3" style="font-size: 18px; line-height: 21.600000381469727px; text-indent: 36px;">
<span class="s2" style="line-height: 21.600000381469727px;">One of the first times that </span><span class="s2" style="line-height: 21.600000381469727px;">Lotz</span><span class="s2" style="line-height: 21.600000381469727px;"> mentions the idea of class in regards to the access of this technology comes on page 70, when she begins the paragraph about half way down the page stating: “Enormous distinctions related to different types of work and socio-economic class distinguished who was likely to and able to use and afford these mobile television devices.</span><span class="s2" style="line-height: 21.600000381469727px;"> Technological tethering functioned particularly acutely for the managerial class. </span><span class="s4" style="font-style: italic; line-height: 21.600000381469727px;">Mobile Phones had been disseminated across socio-economic divides by 2005.</span><span class="s2" style="line-height: 21.600000381469727px;">” </span><span class="s2" style="line-height: 21.600000381469727px;">(</span><span class="s2" style="line-height: 21.600000381469727px;">emphasis</span><span class="s2" style="line-height: 21.600000381469727px;"> added). </span><span class="s2" style="line-height: 21.600000381469727px;">Unfortunately after making this declarative statement, she fails to further interrogate the reasons why this sort of class divide would be problematic, and who exactly falls into the category of “not managerial.”</span><span class="s2" style="line-height: 21.600000381469727px;"> While it is true that the use of the mobile phone has indeed moved its way across the socio-economic divide, it is the lack of acknowledgement of the barriers that still inhibit the access, creation power, and dissemination of these images that makes me pause. </span><span class="s2" style="line-height: 21.600000381469727px;">Mainly, that it is not merely the owning of the technology that allows for the access</span><span class="s2" style="line-height: 21.600000381469727px;"> of supposedly infinite content of the Internet</span><span class="s2" style="line-height: 21.600000381469727px;">. While yes, in theory, once one has a device one can access content.</span><span class="s2" style="line-height: 21.600000381469727px;"> But there are modulators to this access, which determine the when, and how</span><span class="s2" style="line-height: 21.600000381469727px;"> </span><span class="s2" style="line-height: 21.600000381469727px;">people are able to get online. What does it mean for those that only have the public library, a public space, to access this private/public/nebulous technology? What does it mean to have the mobile phone and the power to create content? The modulators are key however, in so far as o</span><span class="s2" style="line-height: 21.600000381469727px;">ften, with these technologies if you do not have access to a </span><span class="s2" style="line-height: 21.600000381469727px;">wifi</span><span class="s2" style="line-height: 21.600000381469727px;"> signal (still something that not everyone has) or have money to pay for a data plan, you cannot be a part of the digital conversation</span><span class="s2" style="line-height: 21.600000381469727px;"> in such an immediate fashion as </span><span class="s2" style="line-height: 21.600000381469727px;">Lotz</span><span class="s2" style="line-height: 21.600000381469727px;"> outlines in her chapter</span><span class="s2" style="line-height: 21.600000381469727px;">. There is a privilege divide, often referred to as the Digital Divide</span><span class="s2" style="line-height: 21.600000381469727px;"> by some academics</span><span class="s2" style="line-height: 21.600000381469727px;">, which stands in the way of, often previously marginali</span><span class="s2" style="line-height: 21.600000381469727px;">zed groups by dominant hegemony, allowing these voices to be heard, be a part of the conversation, and be continuously put down by dominant culture. </span></div>
<div class="s3" style="font-size: 18px; line-height: 21.600000381469727px; text-indent: 36px;">
<span class="s2" style="line-height: 21.600000381469727px;">I had a few other issues with the </span><span class="s2" style="line-height: 21.600000381469727px;">Lotz</span><span class="s2" style="line-height: 21.600000381469727px;"> reading, while I thought some of her analysis and relaying of how the Internet has m</span><a href="https://www.blogger.com/blogger.g?blogID=1197181901399970306" name="_GoBack"></a><span class="s2" style="line-height: 21.600000381469727px;">oved viewers in space in comparison to traditional broadcasting was intriguing, I didn’t find that it held up well over time and that some of her analysis/predictions don’t fit the current moment that we find ourselves in. If she had done more work with the ideas of class there might have been more to talk about when thinking about push/pull media, but I look forward to </span><span class="s2" style="line-height: 21.600000381469727px;">a lively discussion of the emergence and dissemination of </span><span class="s2" style="line-height: 21.600000381469727px;">televisiual</span><span class="s2" style="line-height: 21.600000381469727px;"> style content through the medium of the Internet. </span></div>
amaliacharleshttp://www.blogger.com/profile/01826396352161839506noreply@blogger.com9tag:blogger.com,1999:blog-1197181901399970306.post-25788946211699320542016-04-17T16:26:00.002-07:002016-04-17T16:48:21.725-07:00Post TV and Making Web Series apart from Netflix &Hulu<a href="http://variety.com/2016/tv/news/louis-ck-horace-and-pete-ends-1201755083/" target="_blank">http://variety.com/2016/tv/news/louis-ck-horace-and-pete-ends-1201755083/</a><br />
<br />
So since we are talking about Post Television this week, I figured I should post an article about television outside of broadcast and cable and even Netflix and Hulu which can be considered channels in its own way. Whether it is Youtube or personal websites, creators post entire series for fans to consume for free, hoping to become noticed, make money from advertisements, or through their own merchandise. In the example I am posting, here is an already established celebrity posting a web series online. In the case of people who create series without relying on star power, their focus is to gain a strong fan viewership so that the show can gain traction, but for some reason, Louis CK, although clearly holding a fanbase, did not have enough viewership to warrant a successful production. Perhaps it is because his program was sold on his own site, and when it is not available on Netflix or free, it is really easy to say, "well I ain't paying for that". Not sure really why his didn't become successful - I mean he did not really market anything - but nonetheless it is very interesting to take note of. ( I am honestly hoping it becomes available for free or on a streaming site I am already paying for). Transactional Video on Demand just seems so excessive, no? Anonymoushttp://www.blogger.com/profile/16647994378137833726noreply@blogger.com5tag:blogger.com,1999:blog-1197181901399970306.post-80390791725083518842016-04-13T15:23:00.002-07:002016-04-14T06:13:58.498-07:00Crosscultural RemakesThis news item is a year old, so maybe it's already lost in development hell, but in light of Sebnem's talk today, I couldn't help be reminded of the announcement that <a href="http://deadline.com/2015/02/entertainment-one-decalogue-nbc-limited-series-1201374903/" target="_blank">NBC is remaking Krzysztof Kieslowski's brilliant "Decalogue" miniseries</a> that was broadcast in Poland in 1989. Although each one of its ten episodes focused on one of the Ten Commandments, it's far from a religious series, striking a much more existential/philosophical tone and bolstered by some of Poland's best cinematographers. As the article says, it was really a landmark of post-Communist drama (Stanley Kubrick wrote a fawning introduction in the published English screenplay). I can't imagine how any U.S. network remake could possibly compare, especially if the Polish and cultural elements are removed to make it more "palatable" a la "Les Revenants/The Returned." And the article says it will have worldwide distribution, which seems like an even worse idea, echoing Sebnem's question about who is the intended audience of such ventures. But since there are no other news items since then about this NBC project, let's hope it's just a bad joke for cinephiles.Doug Cummingshttp://www.blogger.com/profile/10268503787259053322noreply@blogger.com0tag:blogger.com,1999:blog-1197181901399970306.post-72104016494383841882016-04-13T12:49:00.002-07:002016-04-13T12:49:44.613-07:00Donald Duck and some unintended consequences of globalizationBoth our readings and the discussion this week touched on one of the unintended side effects of globalization: sometimes, the product is received by audiences in a way not originally intended. For a humorous example of this, check out Slate's article on the surprising longevity of one Donald Duck cartoon in Sweden:<div>
<br /></div>
<div>
http://www.slate.com/articles/arts/culturebox/2009/12/nordic_quack.html</div>
<div>
<br /></div>
<div>
The article touches on many of the issues we discussed: public television, audience studies, Western (American) culture's implicit dominance in the term "globalization." My favorite line, though, goes towards our readings on the Post-TV landscape for next class:</div>
<blockquote class="tr_bq">
"<span style="background-color: white; color: #281b21; font-family: sl-Apres, helvetica, sans-serif; font-size: 15px; line-height: 27px;">You</span><span style="background-color: white; color: #281b21; font-family: sl-Apres, helvetica, sans-serif; font-size: 15px; line-height: 27px;"> do not tape or DVR </span><em style="background-color: white; color: #281b21; font-family: sl-Apres, helvetica, sans-serif; font-size: 15px; line-height: 27px;">Kalle Anka</em><span style="background-color: white; color: #281b21; font-family: sl-Apres, helvetica, sans-serif; font-size: 15px; line-height: 27px;"> for later viewing. You do not eat or prepare dinner while watching </span><em style="background-color: white; color: #281b21; font-family: sl-Apres, helvetica, sans-serif; font-size: 15px; line-height: 27px;">Kalle Anka</em><span style="background-color: white; color: #281b21; font-family: sl-Apres, helvetica, sans-serif; font-size: 15px; line-height: 27px;">. Age does not matter—every member of the family is expected to sit quietly together and watch a program that generations of Swedes have been watching for 50 years</span><span style="background-color: white; color: #281b21; font-family: sl-Apres, helvetica, sans-serif; font-size: 15px; line-height: 27px;">."</span></blockquote>
Apparently, <i>Kalle Anke</i> can even survive smartphones.Anne Marie Kellyhttp://www.blogger.com/profile/02580675291435430221noreply@blogger.com1tag:blogger.com,1999:blog-1197181901399970306.post-22454524207684889142016-04-13T04:17:00.000-07:002016-04-19T20:10:37.828-07:00Core Post 4<b id="docs-internal-guid-809b6b5f-0f39-4464-4ac7-04dcca08ca9a" style="font-weight: normal;"><span style="font-family: "arial"; font-size: 14.6667px; line-height: 1.38; white-space: pre-wrap;">It’s important not to universalize irreducible differences or romanticize the “cross-demographic” effects of globalization -- when in fact our understanding of the concept is largely based on a series of myths. Shanti Kumar breaks down some of these myths while encouraging practitioners of media and television analysis to engage in dialogical rather than dialectical discourse. In her attempt to define "global television studies," Kumar cautions against trying to create a “grand unified theory” (for it is “doomed to failure”) and also eschews comparative discourses which must assume a cultural and philosophical position in their essence; rather, she believes the goal of global television studies is to account for difference, or as she puts it, a fundamental “incommensurability.” </span></b><span style="font-family: "arial"; font-size: 14.6667px; line-height: 1.38; white-space: pre-wrap;">Basically, there's a way in which television cultures across the world just don’t "add up" -- and that’s ok, or rather, that’s the point. </span><br />
<br />
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">While there has undoubtedly been a flattening of national, cultural, and industrial boundaries due to the Internet, it’s important not to assume that difference is elided through such flattening. Looking at stars and celebrities as sites of cultural difference within a largely “universalizing” film, television, and music industry, we might see how incommensurability is delineated rather than minimized through stars as national products. In recent years, celebrity exports from Canada (Justin Bieber, Carly Rae Jepsen, Ryan Gosling, Rachel McAdams) and Australia (Nicole Kidman, Cate Blanchett, Naomi Watts), the UK (Madonna, One Direction, Adele), and South Korea (Psy, Girls Generation, BIGBANG) have been especially common. Many of these stars have been absorbed into American culture as part of the Hollywood system or as reigning pop icons. Bieber in particular has been referred to as "America’s sweetheart" despite his Canadian origin. </span></div>
<b style="font-weight: normal;"><br /></b>
<br />
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Though a cultural studies analysis might delimit such stars as primarily cultural products of economic and industrial value, OR as nexuses of consumer engagement and discourse, Kumar might suggest these disciplinary analyses could be broken down beyond the dominant approach. How might Justin Bieber represent a Canadian identity which is flushed out in the construction of his own “Americanness” and where do the national boundaries of these neighboring countries lie? How might Hollywood’s naturalization of Australian talent reflect and refract the fluidity or primacy of “Westernness” as a loose and arbitrary geopolitical construct? How does the recent domination of British musicians coincide with a return to traditionalism amidst American’s own turbulent racial and political conflicts? How might South Korean pop idols illuminate the cultural anxieties of their fans in various national sectors through their omnivorous portrayals of wealth, excess, and sexuality? Meanwhile, how do global television cultures assimilate and adapt concepts of star and celebrity across local and international platforms? </span></div>
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br /></span></div>
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">While still probably "disciplinary" in conception, perhaps </span><span style="font-family: "arial"; font-size: 14.6667px; line-height: 1.38; white-space: pre-wrap;">celebrities' fluctuating roles as citizens and ambassadors, image-bearers and image-makers can help</span><span style="font-family: "arial"; font-size: 14.6667px; line-height: 20.24px; white-space: pre-wrap;"> discover diversity, through their incommensurability in belonging to both the local and the global</span><span style="font-family: "arial"; font-size: 14.6667px; line-height: 1.38; white-space: pre-wrap;">. </span></div>
<br />Anonymoushttp://www.blogger.com/profile/02877624252111237792noreply@blogger.com0tag:blogger.com,1999:blog-1197181901399970306.post-66626140480499220712016-04-12T21:49:00.000-07:002016-04-12T22:01:03.076-07:00Netted! Netflix and the Faltering Logic of Global Capital in India (Core Post 5)<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-IN" style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;">In
January 2016 at the Consumer Electronic show in Las Vegas, Netflix announced
its expansion to 129 new markets including countries like India, Singapore,
Vietnam, Turkey, Nigeria, Saudi Arabia, South Korea, Poland, Russia, Azerbaijan
among others. In many of these countries including India , Vietnam and Nigeria,
providing access to HD enabled video streaming services has proved to be a
difficult task due to uneven access to technology. High speed internet access
is not a luxury most can enjoy, and data costs are extremely high. To watch an
hour of content in HD for instance, one might have to shell out 3GB of internet
data. In a market that is heavily dependent on domestic television programming,
the entry of foreign media in a new format marked both note of jubilation and
anxiety at the same time.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-IN" style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-IN" style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;">While
lack of infrastructure for smoothening internet access was one of the concerns
that prolonged the entry of streaming services in India, the timing of Netflix’s
entry in 2016 also marked a strange convergence of debates on technological
access, including a war of words over net neutrality between the Telecom
Regulatory Board of India (TRAI) and Facebook. Facebook proposed a differential
data pricing model that was tied to content services. Facebook’s Free Basics
proposal, that effectively suggested ending zero-rating platforms in India was
rejected after intense consultations. But the idea of digital equality through
affordable internet access was looming large when Netflix started its expansion
in India. After the initial success in mobilizing support over the need for
equal access to digital platforms, Facebook lost its public support and had to
end its negotiations midway. Coming straight after this, Netflix’s entry was
seen as creating a rift between the haves and have nots, i.e those who could
afford high speed internet and those who could not. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-IN" style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-IN" style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;">Interestingly,
the subscription-based model that allowed users to access content was modelled
by Nextflix in India based on a three-tier model. The Basic, Standard and
Premium packages allowed users to simultaneous access one, two and four screens
respectively. While the price ranged from $8 to $13, this was more at par with
the basic cable and DTH plans in India. It raises a crucial question. Who were
the prospective users that Netflix was targeting for its market? Were these
users who are already familiar with the shows and who would prefer subscribing
to Netflix than download content from torrent? Or was it a new constituency of
viewers who were unfamiliar with English language entertainment, but supported
blockbuster Hollywood films such as <i style="mso-bidi-font-style: normal;">Iron
Man</i> and <i style="mso-bidi-font-style: normal;">Godzilla</i> with the same
gusto as a regional language film.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-IN" style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghtGivPf_o21FVZoCF2F114lw607iRTBpJJgMbRTGGG9ISeZJK1zFg3Q0EPiDx6ceVGfcqZMcpTPGAbACzrmXN8UA40wY_eoCT_GJGMvXclWZZ-yec6ZRS5sDijOLq-BWtJwMIq1aMGjo/s1600/Screen+Shot+2016-04-12+at+9.46.30+PM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="326" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghtGivPf_o21FVZoCF2F114lw607iRTBpJJgMbRTGGG9ISeZJK1zFg3Q0EPiDx6ceVGfcqZMcpTPGAbACzrmXN8UA40wY_eoCT_GJGMvXclWZZ-yec6ZRS5sDijOLq-BWtJwMIq1aMGjo/s640/Screen+Shot+2016-04-12+at+9.46.30+PM.png" width="640" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-IN" style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-IN" style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-IN" style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-IN" style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-IN" style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-IN" style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-IN" style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-IN" style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-IN" style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-IN" style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-IN" style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;">So,
effectively while the discussions were geared towards the need to catch up with
the new multi-screen culture that allowed a smooth flow of viewing from tablet
to smart phone to television, the essential infrastructure that could allow
these to materialize was still seeped in the realm of the ideal-case scenario. In
his announcement for the expansion into new markets, <span style="mso-spacerun: yes;"> </span>the CEO of Netflix identified the urge for the
immediate and simultaneous consumption of media content as the drive that
allowed Nextflix to bridge the geographical distance and language barriers.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-IN" style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-IN" style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;">Another
crucial factor that contributed to the discussions on the viability of Netflix
as a probable alternative to the cable broadcast is the way it was seen as a
connector to the global media platforms. For instance, there were intense
speculations about the smart phone boom in India in the last five years and how
accessory products could be marketed around it. This not only brought back
debates on net neutrality, but also allowed Netflix to cater to an already
established mode of operation tested in the data usage package offered by
internet providers. While the use of separate packages was not tried by Netflix
elsewhere, the use of three-tier model was seen as forging an intrinsic
connection between the already tried out formulae used by the internet
providers in the Indian market, allowing a cross platform leverage that was
relatively new to Indian mediascape. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-IN" style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-IN" style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;">However,
the Indian media ecology was rife with informal and pirate modes of circulating
and consuming media content. Netflix’s entry into the Indian market was thus, imbued
with a strange sense of contradictions. For instance, the viewership share of
English general entertainment channels in India is less than 1% and there has
been a marginal decline from 1.1% in 2013 to 0.9 % in 2014, making the target
users for Netflix even less tangible in terms of numbers. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-IN" style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-IN" style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;">On the
one hand, the smart phone boom in India was perceived as a ripe time for
Netflix’s Indian entry, especially because Indian Broadcast television never
simulcast American shows and waited for several weeks after any series is telecast
to stack its episodes. This was seen as a practice that was conducive to the “strip”
format that was followed in India, a trend that acclimatized the viewers who
pattern their media consumption practices on specific timings on a daily basis.
The strip format has been integrated as a part of the television programming,
with the distinct markers of weekly and week end slots clearly laid out. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-IN" style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-IN" style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;">Considering
the emphasis on binge watching that Nextflix has relied on to galvanize its
viewership, the focus on strip format has proved to be a difficulty. Even
Indian broadcast channels are trying to reorganize their content after the
entry of Netflix. For instance, Colors Infinity, a newly launched English
entertainment channel is telecasting ten back-to-back episodes of American TV
series <i style="mso-bidi-font-style: normal;">Mad Dogs</i>, as it is premiered
in the US. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-IN" style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUA4W6f450Ga70cHmBk1m0MdzuVdkzIMqGlAj3gPwcwcRl3d4yszZ0oGrhN_czBcAVWHQ291cuE9BN056TnSvHFvj9fdDclvM_tOgUT7HxDmdKrTgBpM46Eml_FcJp2hJUguWFn48NQpw/s1600/Screen+Shot+2016-04-12+at+9.45.50+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUA4W6f450Ga70cHmBk1m0MdzuVdkzIMqGlAj3gPwcwcRl3d4yszZ0oGrhN_czBcAVWHQ291cuE9BN056TnSvHFvj9fdDclvM_tOgUT7HxDmdKrTgBpM46Eml_FcJp2hJUguWFn48NQpw/s400/Screen+Shot+2016-04-12+at+9.45.50+PM.png" width="400" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-IN" style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-IN" style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-IN" style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;">One of
the persistent problems many Netflix users in India faced is the small
catalogue and unavailability of content including the <i style="mso-bidi-font-style: normal;">House of Cards</i>, Netflix’s own production. This triggered off a
search with multiple lists being compiled by users speculating on what could be
stacked in unnoticed corners. For instance, <i style="mso-bidi-font-style: normal;">finder.com.au</i>,
Australia’s most visited comparison site came up with a list and a
clarification that the confusion regarding is content is more because of the
way the streaming organizes the genre list. Another list was provided by <i style="mso-bidi-font-style: normal;">Ogres-crypt.com</i> to assist the viewers to
navigate the terrain of the relatively new entrant to the mediascape. In fact,
there were user guides and tips for new users that proliferated in a short
time, especially on how use of chromecast could help those users without a smart
TV. <o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNq5WTIBUp0u3eJvh1SWLyS5xIW6qXB0jNisea_x-yz8B0DXikdp7-g9tE2cPg2OkKSk4F67isd0KjKQ99ufrTMVjM_CQyYw68dOEJZK6vKG1GHkrymQv6iM0igp_7WLjEDRI-8AEX1SI/s1600/Screen+Shot+2016-04-12+at+9.41.37+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="332" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNq5WTIBUp0u3eJvh1SWLyS5xIW6qXB0jNisea_x-yz8B0DXikdp7-g9tE2cPg2OkKSk4F67isd0KjKQ99ufrTMVjM_CQyYw68dOEJZK6vKG1GHkrymQv6iM0igp_7WLjEDRI-8AEX1SI/s640/Screen+Shot+2016-04-12+at+9.41.37+PM.png" width="640" /></a></div>
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<span lang="EN-IN" style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;">Netflix’s
troubles in India open up the question of the “globe” to acute scrutiny. With
systems such as geoblocking in place, how can one conceive of a “global
television?” Even in the era of the Internet, the idea of a truly global
television then, remains haunted by questions of restricted access and
East-West divide. What remains crucial to us as television scholars is to <i style="mso-bidi-font-style: normal;">redefine </i>the idea of the global by
giving it up to polysemy and allowing for the ways content is distributed and
consumed through informal systems. For instance, Indian viewers knew and
watched shows such as <i style="mso-bidi-font-style: normal;">Breaking Bad </i>and
<i style="mso-bidi-font-style: normal;">Dexter </i>way before Netflix ever hit
the Indian shores. India didn’t necessarily need Netflix; rather Netflix’s
corporate ambitions needed India. <o:p></o:p></span></div>
Darshanahttp://www.blogger.com/profile/05592119690727096563noreply@blogger.com6tag:blogger.com,1999:blog-1197181901399970306.post-25032859031323866102016-04-12T20:00:00.000-07:002016-04-12T20:00:11.917-07:00Core Post #4 - TV + the Globe<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; text-indent: 42.55pt;">
<span lang="EN-US" style="font-family: "Times New Roman"; mso-ansi-language: EN-US;">From this week’s readings, Shanti Kumar’s argument
about the challenges of overcoming the urge to compare cultures was the one
that mostly inspired my thoughts. <i style="mso-bidi-font-style: normal;">Is
There Anything Called Global Television Studies?</i>, Kumar’s circuitous essay,
evokes standard myths that follow – and obfuscates – the concept of
globalization. One of his conclusions is that no study of global television would
be complete without the “subaltern studies”. The concern towards cultural
comparison, combined with the solution through interdisciplinarity, leads to
the idea of <i style="mso-bidi-font-style: normal;">Orientalism</i>, developed by
Edward Said in 1978. When thinking contemporary history and postmodern culture,
Said’s notion of cultural representation needs to be taken into consideration.
The main argument that supports this present discussion is the thought towards the
identification of the <i style="mso-bidi-font-style: normal;">self</i> when
representing the <i style="mso-bidi-font-style: normal;">other</i>. The Orient is
no longer a geographical mark, but rather the foreign culture, the outsider.<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Times New Roman"; mso-ansi-language: EN-US;">Sense8</span></i><span lang="EN-US" style="font-family: "Times New Roman"; mso-ansi-language: EN-US;"> is an
example of fictional globalization that translates this actual tendency. Even
considering all of its problematic characterizations, the show fits as an
interesting illustration to this discussion. Portraying the lives of people all
over the globe, connected by psychic powers, the show brings to light
particularities of certain culture in a way to connect them to one another.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; mso-ansi-language: EN-US;">Within the strategies found by foreign (non-English)
productions, one specifically stands out to me. It seems that local productions
have been redoing conventions typical of Western productions, in a way to
create a product that is appealing to the general audience. <span style="mso-spacerun: yes;"> </span>Instead of focusing exclusively on local
particularities, these products of media have been developing a trajectory that
goes from micro (as a start point) to macro (as conclusion), reaching aspects
that would share meaning with the dominant western culture. I would argue that
this case is more a strategy to broad the spectrum of audience than a movement
towards disappropriation of cultural particularities. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman"; mso-ansi-language: EN-US;">Here is the trailer of <i>Sense8</i>, for those who haven't seen it yet: https://www.youtube.com/watch?v=E9c_KSZ6zMk<o:p></o:p></span></div>
Anonymoushttp://www.blogger.com/profile/00986449357611353392noreply@blogger.com1tag:blogger.com,1999:blog-1197181901399970306.post-75259702416345541362016-04-12T17:49:00.000-07:002016-04-12T17:49:38.968-07:00Core Post 5: TV & The Globe<div class="MsoNormal">
Among the three readings for this week, Michael Curtin’s “Thinking Globally: From Media Imperialism to Media Capital” caught my attention more than the rest of the two. So I would like to share some thought on that article.</div>
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Curtin starts the article clarifying that the media globalization refers beyond the wealthy English-speaking countries such as Canada, Australia, and the UK; it includes in the real sense of global. He begins with the media imperialism thesis emerged in the 60s, which argues “the US and European allies controlled the international flow of images and information, imposing media texts and industrial practices on willing nations and susceptible audiences around the world.” (P109) The term “media Imperialism” soon got numerous critics. One of them is Taiwanese scholar Chin-Chuan lee’s case study research on media influence on Canada, Taiwan, and PRC, and the result indicates that the media impact is not linear. The more developed the country is, the most acceptable its audiences towards Hollywood media.<span style="mso-spacerun: yes;"> </span>Cultural and Postcolonial scholars also questioned, “Media Imperialism” regarding how culture could be dominants national preference to media. And there are study shows that audiences prefer nation production more than exported ones. Hence, media globalization is certainly not western hegemony, but “part of a larger set of processes that operate translocally, interactively, and dynamically at a variety of levels: economic, institutional, technological, and ideological.” (P111)</div>
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Political power is also an issue in the global media. Curtin uses the example of Rupert Murdoch’s releasing Star TV in Hong Kong suggesting government control and interference is what media cooperation meet in foreign countries. The initial idea of Star TV was to expand Murdoch’s Media Empire in Asian and set multiple channels. However, The emergence of Star TV also allows local channels to broadcast in satellite, and thus took away the market.<span style="mso-spacerun: yes;"> </span>Then the authors talk about the business model of the concentration of productive resources that allows companies to receive the best profit in the shortest time, and the creative migration phenomenon happened in Hollywood, Hong Kong, Mumbai, and Cairo.</div>
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Though the article gives very clear historical fact and regional analysis, it generate all media industry into the same position, where in fact, there is hugely different between the global movie industry and television industry. Hollywood system is still very successful international as it did in the 30s, but the television industry is not the same case. From production to distribution, global television business is facing more difficulty than the movie industry. Compared to film, television is considered “mass media,” that other countries hold more regulation. The globalization of television is an entirely different step than the movie industry. Thus, it is worth separating the TV industry from the media globalization to give a close look. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdyPhVDACBw2I1TEs1tCFNGruNI7VelgR_TpLAZXui04AH3Hd5ivGZhwzJjsDp7x2IBYSpe3q8cxDekSwfyIbxxwJXZrCNJj6URcZ7wMal0pxTbeTWDpPFDEKZIhlK-xmEWMlDmQVaz0yN/s1600/cast.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdyPhVDACBw2I1TEs1tCFNGruNI7VelgR_TpLAZXui04AH3Hd5ivGZhwzJjsDp7x2IBYSpe3q8cxDekSwfyIbxxwJXZrCNJj6URcZ7wMal0pxTbeTWDpPFDEKZIhlK-xmEWMlDmQVaz0yN/s1600/cast.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjagRwfyzJ30whpJzPxNW7qfH8KcWqHk5FTXhZJF_03ipJnT5BXC0P-lD8CCqciC0MG17LXvT665u7kRRvnwve6pPzgSA_gfLEkq7hPD11lyL5p1i2oaB_cvCba6VHD9e0YSobJuqYo4z6X/s1600/dandelion_family.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjagRwfyzJ30whpJzPxNW7qfH8KcWqHk5FTXhZJF_03ipJnT5BXC0P-lD8CCqciC0MG17LXvT665u7kRRvnwve6pPzgSA_gfLEkq7hPD11lyL5p1i2oaB_cvCba6VHD9e0YSobJuqYo4z6X/s320/dandelion_family.jpg" width="320" /></a></div>
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I would like to give an example of the difference between American movie performance and television performance in China back in 2005. Though American television received huge popularity in China in the recent years, it once failed miserably in early 2000. When the first season “Desperate Housewives” was first launched on National broadcast in China around 2005, its rating was far lower than the imported Korean drama aired at the same time, despite the fact that “Desperate Housewives” was much more well-made than family drama. Besides the cultural difference, there might be other reasons for the failure of this drama. First, compared to the stars in Korean dramas, actors in American television were much less known to Chinese audience back then. Two, like Lee’s research on Media Imperialism, American drama was considered too elite to the ordinary Chinese audiences back then. And the third reason is that there is not an established reputation and television atmosphere in China. Unlike the Hollywood movie business, which its genre, stars, and films have set up a market in China, while TV industry does not form as a business yet. Thus, one single television drama back then would not change the mass audience’s perception on foreign television, and it will not create a miracle by its own. </div>
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Curtin’s piece is very helpful to understand media globalization overall, but we may need to keep in mind that television and movie are two different business model, and they have separate paths regarding globalization. <span style="mso-spacerun: yes;"> </span></div>
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P.S:</div>
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Nowadays, American television has established its fame in China, and young audiences are addicted to numerous shows just as American audiences do. However, government restriction and regulation become another factor preventing American television from showing. Here is an article from 2015, CNN.</div>
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<b style="mso-bidi-font-weight: normal;"><a href="http://www.cnn.com/2014/12/28/world/asia/china-tv-shows/">http://www.cnn.com/2014/12/28/world/asia/china-tv-shows/</a></b></div>
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Anonymoushttp://www.blogger.com/profile/16112566547844760393noreply@blogger.com6tag:blogger.com,1999:blog-1197181901399970306.post-18343397525149772722016-04-12T15:10:00.002-07:002016-04-12T15:10:31.319-07:00Core Post 4Michael Curtin's article, "Thinking Globally: From Media Imperialism to Media Capital," takes a curious industry studies angle ("how do the production, circulation, and consumption of media help to engender spatial relations and patterns that shape our lives?") but only sketches out some ideas about the relations and patterns and never really gets to how they shape us. I think this lack of followthrough is especially noticeable because the article predates streaming technology, which brings foreign television to our living rooms with just as much ease as any other programming. (Of course, much of this foreign television comes via US distributors, who recontextualize, subtitle, and sometimes re-edit series for American audiences.)<br />
<br />
For me, this is an important feature of the media age we live in, and without really thinking about it, I realized most of the TV my family watches originates in foreign countries, including a slew of BBC period dramas, "Doctor Who," MHz mystery shows produced in Scandinavia, and a Japanese series we find aesthetically appealing, "Mushi-shi" (which has recently been launched into a new series). My daughter is fond of Australian TV shows about mermaids and a wild child who communes with whales. When she was younger, she binged-watched a Norwegian show called "NutriVentures" (which was never fully dubbed by its American distributor) and a terrible Italian anime (apparently rewritten by US distributor) about fairy superheroes. These are simply things we stumbled upon via Netflix-Hulu-Amazon, and felt intrigued enough to stay with them, and for the most part this kind of programming was unavailable growing up (apart from PBS' long propensity to port British shows). Of course, a lot of American animation is produced overseas now.<br />
<br />
Curtin challenges both the "free flow" of media during the Reagan/Thatcher years and the "media imperialism" espoused by TV analysts in the 1970s. He opts for a Marxist-inflected idea of media capital that finds itself in a tug-of-war between the centrifugal Accumulation (expansion) of product and the centripetal consolidation of Creative talent. I found his comparisons to the studio system to be somewhat helpful, and was intrigued by his idea of radio being an especially effective tool for Creative Migration. Additionally, his brief comments near the end contrasting the British public service systems versus the American market-driven system, while probably studied extensively elsewhere, seem to merely touch the tip of a fascinating subject.Doug Cummingshttp://www.blogger.com/profile/10268503787259053322noreply@blogger.com1tag:blogger.com,1999:blog-1197181901399970306.post-30622955422265972232016-04-12T14:58:00.000-07:002016-04-13T10:20:01.080-07:00Core Post 5: The Office - Demonstrating the Promise and Perils of Adaptation<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "georgia";"><span style="mso-tab-count: 1;"> </span>Over the course of twelve episodes and two specials,
Ricky Gervais and Stephen Merchant’s <i style="mso-bidi-font-style: normal;">The
Office </i>changed the landscape of television sitcoms, earning near universal
acclaim and stylistically influencing dozens of sitcoms that have co-opted its
documentary aesthetic. When Gervais and Merchant developed the show for
American audiences along with American writer/producer Greg Daniels, they
copied almost every element from the original show, from the character dynamics
to the plots. The show’s brief first season received a lot of attention and
praise for its cast, but was seen by many critics as a pointless, toothless
retread of Gervais’ acidic original. Only in the show’s second season, when
Daniels began to evolve the tone of the show to reflect a more distinctly
American sensibility did it begin to receive acclaim. After 201 episodes and
several changes of cast, the American <i style="mso-bidi-font-style: normal;">Office
</i>finally ended in 2013 similarly to how it began, with an overwhelming sense
of ambivalence. Several seasons as one of the highest rated and most acclaimed
shows on network television had long since past, leaving the show a hollow
shell of itself in the eyes of many critics and viewers, a feeling only
exacerbated by star Steve Carell’s departure in the show’s seventh season. <o:p></o:p></span></div>
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<span style="font-family: "georgia";"><span style="mso-tab-count: 1;"> </span>What do <i style="mso-bidi-font-style: normal;">The Office </i>and
its American counterpart tell us about the creative and economic norms of both
the British and American television industries? A cynical reading might suggest
that American television (especially network TV) is built of extending a show’s
lifespan until it is no longer financially viable, driving it into creative
stagnation. In the case of <i style="mso-bidi-font-style: normal;">The Office</i>,
this argument is tempting to consider and not without merit. Still, it feels
insufficient, and, I think does a disservice to what Daniels was able to
accomplish on the show. If the American <i style="mso-bidi-font-style: normal;">Office
</i>had only been given the twelve episodes the original had, it would never
have become the show that was so beloved by American audiences. It needed time
to evolve, to come into its own as its own distinct show. This development was
also true of Daniels’ follow-up <i style="mso-bidi-font-style: normal;">Parks and
Recreation</i> along with along with various other beloved, long-running
sitcoms that started on somewhat bumpy footing before evolving. <o:p></o:p></span></div>
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<span style="font-family: "georgia";"><span style="mso-tab-count: 1;"> </span>This is not the case with the original <i style="mso-bidi-font-style: normal;">Office</i>. The show remains fundamentally
unchanged from its first episode to its last. Moreover, the show feels like a
discreet unit, a story conceived from the beginning with a specific ending and
lifespan in mind. This feels like an instructive avenue to me. I am not an
expert in British television, and I know that there are some long-running
British programs (<i style="mso-bidi-font-style: normal;">Dr. Who </i>springs to
mind), but I’ve observed many British shows that rely on the model of short
runs, often a dozen episodes total like <i style="mso-bidi-font-style: normal;">The
Office</i>. The question I have then is this: Does this difference in narrative
and economic structure of British TV reflect British TV audiences as a whole
having a different relationship to television than Americans, and if so, what
are the dynamics of this relationship? For example, to what extent does the
ubiquity of state-run TV (such as the BBC) mediate or modulate a populace’s
relationship to content? Thoughts?</span></div>
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<o:p></o:p>Lancehttp://www.blogger.com/profile/05182685252416306021noreply@blogger.com3tag:blogger.com,1999:blog-1197181901399970306.post-31443730903354621552016-04-12T13:15:00.001-07:002016-04-12T13:15:15.494-07:00Television, Globe & Temporality Core Post 5<div style="text-align: left;">
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<span style="font-family: Arial; font-size: 14px; line-height: 1.38; white-space: pre-wrap;"> In his essay </span><span style="font-size: 14px; line-height: 19.32px; text-align: left; white-space: pre-wrap;"><span style="font-family: Arial;">“Where the Global Meets the Local: Notes from the Sitting Room”</span></span><span style="font-family: Arial; font-size: 14px; line-height: 1.38; white-space: pre-wrap;">, Morley argues that television and computer technology has an effect to “erase time-space differences” (7). As McLuhan and Fiore describe, in the "global village" where we live, “time has ceased, space has vanished” (qtd. Morley 7). Morley later elaborates on the erasure of space, demonstrating how television “redefine(s) notions of social position and place, divorces experience from physical location", and "creates communities across the space” (7). But he doesn’t dive deeper into the discussion of temporal erasure. How does temporal erasure operate in our everyday life under the influence of television? How does television reshape our perception of time? These questions remind me of Bliss Lim’s book “Translating Time”. Drawing on previous studies on heterogeneous temporalities (mainly Bergson’s works on temporal contemporaneity and heterogeneity, and Dipesh Chakrabarty’s heterotemporality and anachronism), Lim argues that modernity has translated heterogenous times into a homogeneous time, imposing a calculated, linear, abstract temporality while hiding other immiscible temporalities coexisting in this world. Cinema functions as a “time machine” that turns “spatial, cultural, and racial difference” into “temporal distance”, and presents alternative temporalities outside of the modern temporality (88). In a similar vein, television is such a “time machine” too. Morley’s idea about television’s temporal erasure, is suggesting that television functions as a modern medium that helps construct modernity into a homogeneous notion — a unifying and erasing process that eliminates heterogeneous temporalities.</span></div>
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<span style="font-family: Arial; vertical-align: baseline; white-space: pre-wrap;"> However, some argue that television introduces more possibilities to disturb the homogeneous time, rather than erasing the differences. In essay “Television, Time, and the National Imaginary in Belize”, Richard Wilk suggests that television enables postcolonial Belizeans to transcend the normative homogeneous time. Postcolonial spaces are not only haunted by the past but also the future, because modernity conventionally equates with progress that postcolonial space should keep up with. But because of television, Wilk argues, Belizeans get to understand their uniqueness with relation to metropole, without necessarily considering themselves as backward and outdated. Also, because of television, for Belizean locals, the Belizean elite class are no longer "the conduit of progress and the transmission of fashion”, so the legitimacy of neocolonial political and economical order is challenged (Wilk 172). Whether television erases time or multiplies time remains a question, but one thing I would definitely agree with is, that television as an important timekeeping method is “a process of control" and "a way of imposing order” (Wilk, 176).</span></div>
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<span style="font-family: Arial; vertical-align: baseline; white-space: pre-wrap;">References: </span></div>
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<span style="font-family: Arial; vertical-align: baseline; white-space: pre-wrap;">David Morley, “Where the Global Meets the Local: Notes from the Sitting Room”. </span></div>
<div dir="ltr" style="font-family: 'Helvetica Neue'; font-size: 14px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;">
<span style="font-family: Arial; vertical-align: baseline; white-space: pre-wrap;">Bliss Lim. Translating Time: Cinema, the Fantastic, and Temporal Critique. Durham: Duke University Press, 2009.</span></div>
<div dir="ltr" style="font-family: 'Helvetica Neue'; font-size: 14px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;">
<span style="font-family: Arial; vertical-align: baseline; white-space: pre-wrap;">Richard Wilk, Television, Time, and the National Imaginary in Belize, Media Worlds: Anthropology and New Terrain. Ginsburg, Faye, Lila-Abu Lughod, and Brian Larkin, eds. Berkeley: University of California Press, 2002. </span></div>
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Hui Huanghttp://www.blogger.com/profile/01799668131093892174noreply@blogger.com2tag:blogger.com,1999:blog-1197181901399970306.post-84982681666217126652016-04-12T11:40:00.000-07:002016-04-12T11:40:14.117-07:00Core Post 5 In “Where the global meets the local: notes from the sitting room” David Morley posits that studies of media consumption cannot remain merely local or global but must somehow find the commonalities between the two, to understand how each informs and generates the other. Communication technologies construct identities broadly and narrowly. They enable some shared experiences which connect disparate populations, while also enabling other shared experiences which allow the preservation of local identities across previously insurmountable distances. Thus scholars of global television studies cannot ignore either the macro or the micro spheres in their analysis of television’s effects:“just as we should then be concerned with the role of communications technologies in the constitution of national identity, so with the analysis of the implication of these technologies in the construction of identities at the domestic level (14).” The geography of community is changing in light of communication technologies like television, but this change is not a straightforward expansion or retraction. Likewise the community divisions that communication technologies simultaneously blur and emphasize are not straightforwardly set between classes and cultures, but rather a result of a complex series of variables (12). TV Studies must grapple with both the fragmentary and homogenizing power of the televisual medium.<br />
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<img src="http://fm.cnbc.com/applications/cnbc.com/resources/img/editorial/2016/04/08/103533512-watermelon.530x298.jpg?v=1460143951" style="-webkit-user-select: none;" /></div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>As I read Morley’s article this week I also witnessed an extraordinary, if superficially meaningless event–the Buzzfeed Watermelon explosion. On Friday afternoon via Facebook Live, Buzzfeed broadcast a live feed of two of their employees wrapping rubber bands around a watermelon until it exploded. This event attracted 800,000 live viewers, millions of viewers after the fact, and the attention of think-piece journalists from CNBC to Vulture. Media opinion remains divided on whether the unprecedentedly popular live broadcast represents “the future of tv” (CNBC) or if it is merely an aberration caused by Friday mid-afternoon boredom (International Business Times). Nonetheless, the event brings to mind Morley’s fluctuating connections between the local and the global. Certainly, the event demonstrates how communication technologies can bring a community event into existence and foster a global experience which is neither truly private or public. 800,000 people now have a common past of watching the Buzzfeed watermelon explode. However, It is unclear to me what kind of identity the Buzzfeed watermelon fosters, whether local or global. The event does not seem to maintain traditions of any kind, yet attracted a huge amount of interest. To utilize Morley’s language, what kind of macro and micro effects does a live, social media driven event like the Buzzfeed watermelon generate? How does it fragmentize and homogenize its viewers?<br />
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http://www.cnbc.com/2016/04/08/does-buzzfeed-hold-the-key-to-the-future-of-tv.html<br />
http://www.ibtimes.com/why-buzzfeed-exploding-watermelon-facebook-not-future-tv-2351880<br />
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katjenlilyhttp://www.blogger.com/profile/12366412127141217323noreply@blogger.com4tag:blogger.com,1999:blog-1197181901399970306.post-85798125283792268892016-04-12T10:05:00.000-07:002016-04-12T10:05:59.510-07:00Core Post 5<div class="MsoNormal" style="line-height: 200%; text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">David Morley’s article “Where the Global
Meets the Local: Notes from the Sitting Room” introduces a new paradigm of
audience studies. He tries to break down the constraint of the Birmingham
School's macroanalysis, which focuses on social class, gender, and nation, to
combine domestic empirical microanalysis. I totally agree with Morley’s
research perspective. However, this article is just like an introduction to a
research study. The article pieces together many opinions and points out the
deficiencies in others' research, but it lacks convincing supporting arguments.
</span></div>
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<span lang="EN-US"><br /></span>
<span lang="EN-US">At the beginning of the article, the author
reviews others’ research about the consumption of television in culture studies
(e.g., research by Murdock, Morris, and Willemen) to challenge the “banally”
traditional audience study and reconstruct the concept of “audience.” He
emphasizes “a ‘double focus’ on television viewing,” the ideology of media
content, and the cultural code of audiences, and he claims that the objective
is “the production of analyses of the specific relationships of particular
audiences to particular types of media content which are located within the
broader framework of an analysis of media consumption and domestic ritual” (5).
In the second section, he introduced John Ern and Herman Bausinger’s opinion to
discuss the effect of media technology on the transformation of the television
audience and talk about “the question of how these technologies are integrated
into the structure and routines of domestic life” (6). Meanwhile, he quotes
Marshall McLuhan and Meyrowitz's opinion that “the effect of television and
computer technology was to erase time-space differences” (7), which redefines
the concept of “community,” that is, “a 'psychological neighborhood' or a
'personal community' as a network of (often non-local) ties” (8). Meanwhile, he
adds the social and cultural factors to the technologically determinist
discourses to return to the sociology. As Henry Jenkins mentioned in the
article, “The Cultural Logic of Media Convergence,” he presents the concept of
the “information gap” that “the mechanism of communication produces
inequalities of access among social and economic groups “</span><span style="font-family: 宋体; mso-ascii-font-family: "Times New Roman"; mso-fareast-font-family: 宋体; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: "Times New Roman";">(</span><span lang="EN-US">11). At last, he moves back to the initial discussion in “the
relation of micro- and macro analyses and the status of small-scale
ethnographic studies of media consumption in the analysis of macro-issues of
power and politics.” To be specific, one
of the most important functions of broadcasting is to create a bridge between
the public and the private, which reconstitutes the concept of time, space, and
community, so that “the global meets local.”</span></div>
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Anonymoushttp://www.blogger.com/profile/10163987208635464503noreply@blogger.com0tag:blogger.com,1999:blog-1197181901399970306.post-5404163849753386642016-04-11T21:26:00.001-07:002016-04-11T21:26:32.394-07:00Core Post 5<div class="MsoNormal">
<span style="font-family: "Times New Roman";">In his essay,
“Where the Global Meets the Local: Notes From the Sitting Room,” David Morley offers
a reasonable proposition under a sprawling thicket of scholarly references and
sophisticated rhetoric. His proposition – and the argument of the essay – is that
detailed “domestic” or “local” studies of media consumption will help scholars
“effectively grasp the significance of the processes of globalization and
localization […] which have been widely identified as central to contemporary
[…] culture” (1). Later on Morley will state his contention in different terms,
declaring that private domestic realms (like TV sitting rooms) can help us
understand “the constitutive dynamics of abstractions such as ‘the community’
or ‘the nation’,” and especially if we're concerned with </span><span style="font-family: 'Times New Roman';">“</span><span style="font-family: 'Times New Roman';">the role of
communications in the continuous formation, sustenance, recreation and
transformation of these entities” – essentially, he suggests that broadcasting
allows for an interfacing between public and private realms, and that broad questions
of ideology, power, and politics can be understood by studying the consumption,
uses, and functions of television in everyday life (12, 5). In order to reckon
with television’s ideological role, its ritualistic function, and the processes
of its social consumption, what’s needed, according to Morley, is a
methodological approach that understands all of these issues as being
integrated.</span></div>
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<span style="font-family: "Times New Roman";">This call for a
fresh methodological approach harmonizes with the inward-gazing tenor of the
other two articles for this week. Michael Curtin, in “Thinking Globally: From
Media Imperialism to Media Capital,” offers an overview of international media
industries research before turning to recent literature on globalization to
provide “context for explaining key principles” that help us think globally
about media industries (109). Trafficking primarily in overviews and
contextualization, Curtin’s article seems more concerned with outlining the
terms <i style="mso-bidi-font-style: normal;">for</i> analysis rather than
embarking <i style="mso-bidi-font-style: normal;">on</i> that analytical
endeavor. Meanwhile, Shanti Kumar’s article, “Is There Anything Called Global
Television Studies,” is plainly obsessed with how the discipline of global
television studies has been and will continue to be cultivated. It’s a limited
sample size, but all of the pieces for this week display disciplinary
self-consciousness in lieu of aesthetic analysis. Fields of study of course
have room for (and are strengthened by) such work, but it does seem curious
that Morley neglects to mention analyses of particular programs in his call for
an “integrated” methodological approach to global television studies. Peter
asked questions about this scholarly trend in his post about last week’s
articles, but the discussion might be even more apt for this week. In a
scholarly culture that focuses on global media practitioners and the practices
of production, distribution, and consumption (rather than experience),
aesthetics get short shrift – my question is whether this might be a purposeful
attempt by television studies to further dissociate from its disciplinary
lineage (literary and cinema studies). <o:p></o:p></span></div>
Unknownnoreply@blogger.com4tag:blogger.com,1999:blog-1197181901399970306.post-71464549840876800022016-04-09T16:07:00.002-07:002016-04-09T16:08:14.875-07:00Postcolonial (and all) criticism is like trying to see yourself in Portal...[core post 4]For conceptual reference: <a href="https://www.youtube.com/watch?v=1xZMOB00O7g&nohtml5=False" target="_blank">Portal</a> is weird.<br />
<br />
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Something I found myself visiting and revisiting continually throughout every one of this week’s readings is the problem of the critic. The position of the critic is a fundamentally destructive (and deconstructive) one. To acknowledge the limitations implicit in one’s own critical position is to imagine (and assume) a grander epistemological position above oneself; this paradoxically requires the same kind of claim to omnipotence the critic initially tried to avoid in acknowledging her position. Put more simply, to know one is not qualified to speak definitively on a subject due to one’s own cultural upbringing and blindnesses is to claim a kind of broader understanding beyond those very blindnesses that makes them visible to oneself. It is the basic problem of trying to look outside of one’s own vision to understand (and ideally critique) the limits of one’s perceptions. The paradox of the critic is an unsolvable one, but it seems wise to continually address it despite (because of) that.</span></div>
<b id="docs-internal-guid-46006c10-fd44-0d75-2a5d-de8b23748a91" style="font-weight: normal;"><br /></b>
<br />
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The paradox of the critic becomes especially evident in the context of globalization and postcolonial theories, which persuasively argue the necessity of making power structures visible as possible. As Shanti Kumar further argues, this should include the global power structures of academic study itself. To avoid a kind of “Western-centric” scholarly imperialism (akin to the very real “media imperialism” Michael Curtain so unconvincingly tries to minimize) seems ideal, but is ultimately futile, for not only has this imperialism already come to pass long ago, but our recognition of that fact is complicated by every academic’s position as critic--and the inherent self-reflexive blindness of that position. No one can critique beyond their line of sight, and no one possesses “global” vision. Including myself, which is why I can’t really say what I just said. Impossible irony, here.</span></div>
<b style="font-weight: normal;"><br /></b>
<br />
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Though there is no way out of this circular logic, I will arbitrarily assert that it remains good practice to </span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">try</span><span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">. I appreciate Kumar’s discussion of her critical position on page 148: “My critique of the problematic of global convergence in television and television studies…emerges from my understanding of how a particular kind of discipline essentially shapes one’s self and informs representations of others in one’s own discourse.” Though helpful, such full-disclosure efforts are doomed from the start in a sense. The goal of the critic is perhaps to see beyond the personal, but the instrument of criticism—perspective, language, thought, whatever you want to call this rather mysterious thing--is itself based entirely on the personal. The personal is unavoidable, and in a way all criticism is compromised to begin with. I don’t mean to argue this is a bad thing, or that criticism is useless, but I think it’s important to notice. </span></div>
<br />Danielle Choihttp://www.blogger.com/profile/05418207669994314527noreply@blogger.com4tag:blogger.com,1999:blog-1197181901399970306.post-13380582288577940562016-04-05T23:36:00.002-07:002016-04-05T23:36:59.008-07:00Brief Clip on Media Conglomerates<span style="font-family: Arial, Helvetica, sans-serif;">I was able to track down this brief clip from the documentary <i>This Film is Not Yet Rated</i>, that paints a frightening picture of the conglomerization of Hollywood</span>. <span style="font-family: Arial, Helvetica, sans-serif;">I think it further supports and colors the three readings we had this week, so enjoy!</span><br />
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<br />Jonhttp://www.blogger.com/profile/09536542390543039377noreply@blogger.com0