Relevant bibliographies by topics / Lesbianism on television. Television and politics. Television viewers / Journal articles
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Journal articles on the topic 'Lesbianism on television. Television and politics. Television viewers'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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1

Bainbridge, Caroline. "Television as psychical object: Mad Men and the value of psychoanalysis for television scholarship." Critical Studies in Television: The International Journal of Television Studies 14, no. 3 (2019): 289–306. http://dx.doi.org/10.1177/1749602019851714.

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Claims that Mad Men (2007–2015) is an obedient post-feminist text overlook the drama’s images of both women and the history of feminism and its potential to impact on contemporary understandings of gender politics. Mad Men can be seen as a psychological object, helping viewers to explore links between their own experience and that of characters on screen as the narrative unfolds. Making links between the social re-emergence of feminist awareness, the drama’s representations of second-wave feminism and a psychoanalytic understanding of mourning, I suggest that a return to psychoanalytic methodo
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Taylor, J. Benjamin. "The Educative Effects of Extreme Television Media." American Politics Research 45, no. 1 (2016): 3–32. http://dx.doi.org/10.1177/1532673x15600516.

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This article investigates whether exposure to extreme television media informs citizens about politics. Using lab experiments with both student and non-student samples, I find that extreme media produce higher levels of political knowledge and that they also produce higher levels of negative affect among viewers compared with control groups. I also show that extreme media are at least as informative as traditional news. This research adds to the growing literature on media effects in a polarized media environment, showing that extreme television media can have a beneficial impact on at least o
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Entman, Robert M. "Blacks in the News: Television, Modern Racism and Cultural Change." Journalism Quarterly 69, no. 2 (1992): 341–61. http://dx.doi.org/10.1177/107769909206900209.

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Local news may be one vehicle through which television helps, inadvertently, both to preserve and to transform cultural values. Content analysis on the evening news on four Chicago television stations over a lengthy period suggests local television responds to viewing tastes of black audiences. However, data on these Chicago television news programs suggest racism still may be indirectly encouraged by normal crime and political coverage that depict blacks, in crime, as more physically threatening and, in politics, as more demanding than comparable white activists or leaders. Ironically, widesp
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Young, Michael P. "Such Schadenfreude – Unpacking The Medley of Caustic Humor and Politics in Veep." AM Journal of Art and Media Studies, no. 20 (October 15, 2019): 61. http://dx.doi.org/10.25038/am.v0i20.327.

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This paper discusses the intersection of humor and politics from a media perspective, particularly through the lens of television aesthetics. As a growing branch of television studies, television aesthetics tends to refer to stylistic analysis but also, more rarely, to an interest in philosophical aesthetics as applied to television (Butler, 2010; Cardwell, 2013). I will focus on the genre of political satire and identify the critically acclaimed television series Veep (HBO, 2012 – present) as a program which exemplifies the expression and underlying values of a contemporary strain of aestheti
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Orozco, Guillermo, and Toby Miller. "Television in Latin America Is “Everywhere”: Not Dead, Not Dying, but Converging and Thriving." Media and Communication 4, no. 3 (2016): 99–108. http://dx.doi.org/10.17645/mac.v4i3.592.

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In Latin America, the now-venerable expression “the end of television” itself looks old, tired, and flawed: markets, cultures, politics, and policies alike find television more alive than ever, albeit in its usual state of technological, institutional, and textual flux. Advertising investment in TV continues to increase, governments still use television to promote generalized propaganda as well as their daily agendas, football on screen remains wildly popular, and fiction programs, most notably <em>telenovelas</em>, dominate prime time and draw large audiences aged between 25 and 6
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Elder, Catriona. "Framing stories of national belonging: the case of an historical adventure-romance television series." Media International Australia 174, no. 1 (2019): 72–85. http://dx.doi.org/10.1177/1329878x19882021.

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This article explores the role of Australian 1970s and 1980s ‘quality’ historical television series and miniseries in engaging national audiences in discussions about their national history. These programmes – which had a corollary in the United States in the same period – were ‘blockbusters’. But the historical miniseries of this period were not designed just to make money for the television networks, rather they had ‘designs’ on their viewers. What this set of programmes have in common is a sense of their important contribution to debates about what, who and why of nations and citizens. The
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Rich, B. Ruby. "Brokering Brokeback: Jokes, Backlashes, and Other Anxieties." Film Quarterly 60, no. 3 (2007): 44–48. http://dx.doi.org/10.1525/fq.2007.60.3.44.

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ABSTRACT This essay explores the reception of Brokeback Mountain by film critics, gay viewers, female audiences, television shows, and the blogosphere. By tracing the path of controversies, jokes, and anxieties, this essay argues that hysteria came into play to mask homophobia while, in the gay community, debates etched the limits of contemporary identity politics.
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Kallioniemi, Noora, and Sami Hantula. "Bailataan ankarasti!" Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 34, no. 2-3 (2021): 74–94. http://dx.doi.org/10.23994/lk.111162.

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Tarkastelemme uutisparodiaohjelma Frank Pappa Show’ta esimerkkinä 1990-luvun alun asiaviihteen ohjelmistosta, jota määrittävät uudenlainen faktan ja fiktion suhde sekä viihteellisen poliittisen julkisuuden syntyminen. Indieyhtiö Broadcasters Oy:n tuottama televisiosarja kommentoi ajantasaisesti lama-ajan murroksia, kuten piteneviä leipäjonoja ja kasvavaa työttömyyttä. Frank Pappa Show uudisti poliittisen viihteen kenttää nostamalla viimeisen asiallisuuden linnakkeen, uutiset, viihteen käytettäväksi ja totutti katsojat tulkitsemaan ironisia, satiirisia ja parodisia viestejä.Tämän kulttuurihisto
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DELMONT, MATT. "Buses from nowhere: television and anti-busing activism in 1970s urban America." Urban History 43, no. 4 (2016): 643. http://dx.doi.org/10.1017/s0963926815000887.

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ABSTRACT‘Busing’, in which students were transported by school buses to achieve court-ordered or voluntary school desegregation, became one of the nation's most controversial civil rights issues in the decades after Brown vs. Board of Education (1954). Focusing on Florida Governor Claude Kirk and Pontiac housewife activist Irene McCabe, this essay examines how busing opponents turned the conventions of television news – its emphasis on newsworthy events and crisis; its selective use of historical context; and its nominal political neutrality – to their advantage, staging television friendly pr
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Mutugi, Kabucua John, Nyakundi Nyamboga, and Nguri Matu. "Challenges Kenyan Television Journalists Face in Spotting Fake News." Journal of Development and Communication Studies 7, no. 1-2 (2020): 46–70. http://dx.doi.org/10.4314/jdcs.v7i1-2.4.

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A fake news story can travel half way across the world as the truth puts on its socks. There are myriads of challenges facing journalists in spotting fake news hence its wide proliferation. Fake news has become a prominent subject of enquiry especially following its alleged influence of the 2016 general elections in US. Unfortunately, research on fake news has focused on social media, politics, elections, and economies. Few studies have focused on the challenges that TV journalists face in spotting fake news prompting this study. The specific research question was; what are the challenges faci
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MacKeogh, Carol. "Taking Account of The Macro in the Micro-Politics of Family Viewing - Generational Strategies." Sociological Research Online 6, no. 1 (2001): 91–103. http://dx.doi.org/10.5153/sro.581.

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This article uses Bourdieu's concept of habitus, to explore how external discourses relating to young people and television, enter into the micro-politics of family viewing. It is based, primarily, on observation data collected by informants in the homes of young people. These data reveal the tactics and strategies that are used both by the young people and by their ‘parents’ to control the viewing process. It is possible to tentatively identify the projection of discourses of vulnerability onto young people who, in turn, attempt to position themselves as competent viewers evoking public disco
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Randell-Moon, Holly, and Arthur J. Randell. "Bureaucracy as Politics in action in Parks and recreation." New Formations 100, no. 100 (2020): 161–78. http://dx.doi.org/10.3898/newf:100-101.11.2020.

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The North American television show Parks and Recreation focuses on the bureaucratic processes and practices of managing the Parks and Recreation Department for the fictional town of Pawnee, Indiana. Filmed in the mockumentary style of television comedies such as The Office, humour is derived from the discrepancy between the self-importance the main character, Leslie Knope, deputy director of the department, attaches to the department's work and the mundane realities of mid-level bureaucracy in municipal government. Nevertheless, in spite of this parodic discrepancy, the programme encourages vi
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Földváry, Kinga. "Trendy or topical? Sexual politics and panopticism in the 2016 BBC Midsummer Night’s Dream." Cahiers Élisabéthains: A Journal of English Renaissance Studies 99, no. 1 (2019): 137–46. http://dx.doi.org/10.1177/0184767819835553.

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The 2016 BBC television production of A Midsummer Night’s Dream (directed by David Kerr) illustrates that the provocative representation of gender issues, commented on by most reviewers, effectively overshadowed the film’s real topicality: its depiction of a tightly controlling post-panoptic regime, relying on technological surveillance systems, in which observed and observer are equally implicated. However, the film’s spectacular visuality and the liberal gender politics of the adaptation, which are all but compulsory in contemporary theatrical adaptations, have allowed viewers to focus on th
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Özalpman, Deniz, and Katharine Sarikakis. "The politics of pleasure in global drama: A case study of the TV series, The Magnificent Century (Muhteşem Yüzyıl)." Global Media and Communication 14, no. 3 (2018): 249–64. http://dx.doi.org/10.1177/1742766518780168.

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This article is concerned with the ways in which local/national drama becomes a global success, which strategies are developed to appeal to viewers within different cultural settings and how far this shift is important when re/thinking audience reception studies. The study answers this question by exploring the television (TV) drama series, The Magnificent Century (2011–2014) by conducting in-depth interviews in the Greek capital Athens and the Moroccan capital Rabat with viewers and the production and distribution team of the series. The findings show that potentials for pleasure in the consu
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Nolan, David. "Lessons from America? News and Politics in Hard Times." Media International Australia 144, no. 1 (2012): 127–36. http://dx.doi.org/10.1177/1329878x1214400117.

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On 30 October 2010, US news satirists Jon Stewart and Stephen Colbert jointly held the ‘Rally to Restore Sanity and/or Fear’, attracting a crowd of over 200,000 in Washington, DC, and an estimated national audience of two million viewers on Comedy Central. While Stewart denied it, this event was widely interpreted as a satirical response to Fox News Anchor Glenn Beck's earlier ‘Restoring Honor’ rally, a controversial event that hosted numerous figures of the conservative and Christian right, including Sarah Palin. This event provides a case study in this article for a wider reflection on conte
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Goldson, Annie. "Journalism Plus? The resurgence of creative documentary." Pacific Journalism Review 21, no. 2 (2015): 86. http://dx.doi.org/10.24135/pjr.v21i2.120.

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Over the past two decades, opportunities for ‘creative documentary’ on television may have diminished, but other distribution options for innovative and engaged films have opened up. A resurgence of cinematic documentary is attracting substantial numbers of viewers who, bored or disillusioned by television’s shift to reality programming, are prepared to pay for theatre tickets, while online subscription services such as Netflix and Amazon now stream and fund high-quality documentary. Increasing numbers of filmmakers are self-distributing their works online. A significant percentage of these fi
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MUTZ, DIANA C., and BYRON REEVES. "The New Videomalaise: Effects of Televised Incivility on Political Trust." American Political Science Review 99, no. 1 (2005): 1–15. http://dx.doi.org/10.1017/s0003055405051452.

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Does incivility in political discourse have adverse effects on public regard for politics? If so, why? In this study we present a theory suggesting that when viewers are exposed to televised political disagreement, it often violates well-established face-to-face social norms for the polite expression of opposing views. As a result, incivility in public discourse adversely affects trust in government. Drawing on three laboratory experiments, we find that televised presentations of political differences of opinion do not, in and of themselves, harm attitudes toward politics and politicians. Howe
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18

Cai, Rong. "Restaging the Revolution in Contemporary China: Memory of Politics and Politics of Memory." China Quarterly 215 (August 15, 2013): 663–81. http://dx.doi.org/10.1017/s0305741013000763.

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AbstractThis article focuses on the adaptation of the Red Classics – a collection of literary and cinematic works depicting the Communist armed struggle produced in the PRC between 1949 and 1966 – for contemporary Chinese television. Using the controversy over the remake of Tracks in the Snowy Forest (Linhai xueyuan 林海雪原) as a case study, it explores the complexity of restaging the Communist revolution in the post-Mao reform era. Competition in the media industry compels TV producers to re-package Communist history for fragmented contemporary audiences – those who are familiar with the origina
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Gates, Racquel. "The Last Shall Be First: Aesthetics and Politics in Black Film and Media." Film Quarterly 71, no. 2 (2017): 38–45. http://dx.doi.org/10.1525/fq.2017.71.2.38.

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There has been a shift away from formal and textual analysis in the field of film and media studies. These methodologies are seen as passé, “old school,” or even overly simplistic (and no doubt some of this work may warrant these critiques). Yet, I suspect that, as with the celebration of style in Moonlight (Barry Jenkins, 2016), here, too, other politics are at play. In some ways, to reject formal analysis is to subconsciously reject the earlier era of film studies that treated the study of black film (and eventually television) as marginal or inconsequential. In other ways, this move away fr
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Yurchak, Alexei. "A Parasite from Outer Space: How Sergei Kurekhin Proved That Lenin Was a Mushroom." Slavic Review 70, no. 2 (2011): 307–33. http://dx.doi.org/10.5612/slavicreview.70.2.0307.

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In 1991, Leningrad television broadcast a program that has since become infamous. The program's guest, Sergei Kurekhin, claiming to be a political figure and scientist, conducted an elaborate hoax that he presented as a serious historical exploration into the origins of the Bolshevik revolution. Using visual, textual, and scientific evidence, Kurekhin argued that the revolution was led by people who had been consuming hallucinogenic mushrooms. As a result, their personalities were being replaced by mushroom personalities, and their leader, Vladimir Lenin, was simply a mushroom. This fact, acco
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Smith, Tyron Tyson, and Ajit Duara. "Postmodernism: The American T.V. Show, 'Family Guy, As a Politically Incorrect Document." Revista Gestão Inovação e Tecnologias 11, no. 4 (2021): 4868–84. http://dx.doi.org/10.47059/revistageintec.v11i4.2510.

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Postmodernism is a movement that grew out of modernism. Movements in art, literature, and cinema focused on a particular stance. The visual artists who created entertainment focused on expressing the creator herself/himself beginning from German expressionism to modernism, surrealism, cubism, etc. These art movements played an important part in what an artist (literature, art, and visual) portrayed to his or her audience. As perspectives played an important part, an understanding of what the artist needed to portray was critical. Modernism dealt with this portrayal, which came about due to the
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Cushion, Stephen, Justin Lewis, and Allaina Kilby. "Why context, relevance and repetition matter in news reporting: Interpreting the United Kingdom’s political information environment." Journalism 21, no. 1 (2017): 34–53. http://dx.doi.org/10.1177/1464884917746560.

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This study develops a multi-method approach to analysing political information environments, exploring how media and political systems help shape people’s understanding of news. In doing so, we ask a question fundamental to democratic citizenship: how well do news media communicate political responsibility and policy differences across political systems? Our study examines the United Kingdom’s political information environment, where significant power is devolved to Scotland, Wales and Northern Ireland, with different political parties in control. Drawing on a content analysis of 17,765 news i
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F. Recher, Harry. "Forum on Conservation." Pacific Conservation Biology 14, no. 4 (2008): 228. http://dx.doi.org/10.1071/pc080228.

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When Malcolm Jones and I taught first year students in Resource Management at the University of New England early in the 1990s, we set a major project based on an analysis of media coverage of environmental issues. I particularly remember a report on water pollution on Sydney?s beaches. Using column inches, size of headlines, location in the newspapers, and frequency of reporting, the report showed with considerable statistical certainty that Sydney?s ocean waters were pristine prior to the start of the swimming season (no or few reports in the papers), became increasingly polluted as summer p
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Zinovyeva, Nadezhda A. "Game streams and let’s play: Perspectives of a sociological analysis." Vestnik of Saint Petersburg University. Sociology 13, no. 4 (2020): 460–75. http://dx.doi.org/10.21638/spbu12.2020.407.

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The article provides an overview of research devoted to the popular practice of watching game streams and let’s play. The goal is to outline the “points of growth” for sociological analytics of the new field. Streams and let’s play videos are divided according to the criterion of online and offline communication: streams are created and shown synchronously online, and let’s play videos are recorded and edited offline. Today, both of these kinds of videos are integrated into the computer game industry, and the emergence of comments for the public date back to television shows. Based on the rese
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"Lessons from Themes in Professor Johnbull Nigerian Television Drama Season – 4 Episode 9 (Street School) Towards Curtailing Child Abuse in African Societies." IJOHMN (International Journal online of Humanities), December 30, 2020. http://dx.doi.org/10.24113/ijohmn.v6i6.212.

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Television is a medium through which society is well informed about social reform, social re-engineering and social orientation because of the tenacious relevance of its audio-visual influence on the viewers. What people think about nearly every issue be it politics, religion, government, fashion, culture, is almost exclusively influenced by television. Thus, this study examines lessons on re-orientation of the African Society towards curtailing Child Abuse from themes in Professor Johnbull Television Drama, Season 4-Episode nine (Street School). The study identifies various themes of child ab
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Merchant, Melissa, Katie M. Ellis, and Natalie Latter. "Captions and the Cooking Show." M/C Journal 20, no. 3 (2017). http://dx.doi.org/10.5204/mcj.1260.

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While the television cooking genre has evolved in numerous ways to withstand competition and become a constant feature in television programming (Collins and College), it has been argued that audience demand for televisual cooking has always been high because of the daily importance of cooking (Hamada, “Multimedia Integration”). Early cooking shows were characterised by an instructional discourse, before quickly embracing an entertainment focus; modern cooking shows take on a more competitive, out of the kitchen focus (Collins and College). The genre has continued to evolve, with celebrity che
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Peris-Blanes, Àlvar. "Infoentretenimiento y espectáculo televisivo en la comunicación política valenciana: las elecciones autonómicas de 2019 en la televisión pública À Punt." Congreso Internacional de la Asociación Española de Investigación de la Comunicación, September 25, 2020, 167–81. http://dx.doi.org/10.3145/ae-ic-epi.2020.e24.

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In recent years, the emergence of social media and digital applications to transmit political discourse has altered the mediatization process of politics forever. Within this changing, hybrid, and more complex scenario, television is also adapting to new communication needs. One of the most visible effects is the role that entertainment programs have acquired lately in the transmission of political information. This is not an exclusively Spanish phenomenon, nor is it strictly novel. Indeed, infotainment has been a fully established television formula for decades, on the one hand, because telev
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Miczka, Tadeusz. "Cinema Under Political Pressure." Kinema: A Journal for Film and Audiovisual Media, November 20, 1995. http://dx.doi.org/10.15353/kinema.vi.767.

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CINEMA UNDER POLITICAL PRESSURE: A BRIEF OUTLINE OF AUTHORIAL ROLES IN POLISH POST-WAR FEATURE FILM 1945-1995 Before the spread of television in the middle of the Fifties, film -- the Tenth Muse -- was the light in the eyes of politicians who recognised its communication, entertainment and artistic values, and before all, its ability to create a feeling of reality in viewers minds. Not accidentally the leaders of the world powers and countries conducting colonial politics called it "the most important of all arts" (Lenin), "a great means of mass propaganda" (Stalin), "the strongest weapon" (Mu
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Mohapatra, Dr Atnu, and K. G. Suresh. "Emerging Trends in Political Ownership of Media." IMS Manthan (The Journal of Innovations) 8, no. 2 (2015). http://dx.doi.org/10.18701/imsmanthan.v8i2.5140.

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Media and politics have a symbiotic relationship. Politicians need media to get the oxygen of publicity and the exposure they need to woo electorate and mould public opinion. With many a media house turning indifferent to their needs an ever increasing number of political parties and leaders are setting up their own small and big media shops to propagate their views, cover up their shortcomings, or to settle scores with their rivals. The Entertainment and Media (E&M) industry broadly consists of four segments i.e. Television, Print, Radio and other media platforms (such as Internets, Film,
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Gibbs, Anna. "In Thrall." M/C Journal 8, no. 6 (2005). http://dx.doi.org/10.5204/mcj.2462.

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 Let’s begin with the paradox of disavowal. On the one hand, we all “know” that television is hypnotic. On the other hand, we tend to imagine that we each – perhaps alone – remain impervious to the blandishments it murmurs as we watch it, often without being fully aware we are doing so.
 
 One of the many things contributing to the invention of television, according to Stefan Andriopoulos, was “spiritualist research into the psychic television of somnambulist mediums” (618). His archaeology of the technological medium of television uncovers a reciprocal relation (
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Mizrach, Steven. "Natives on the Electronic Frontier." M/C Journal 3, no. 6 (2000). http://dx.doi.org/10.5204/mcj.1890.

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Introduction Many anthropologists and other academics have attempted to argue that the spread of technology is a global homogenising force, socialising the remaining indigenous groups across the planet into an indistinct Western "monoculture" focussed on consumption, where they are rapidly losing their cultural distinctiveness. In many cases, these intellectuals -– people such as Jerry Mander -- often blame the diffusion of television (particularly through new innovations that are allowing it to penetrate further into rural areas, such as satellite and cable) as a key force in the effort to "a
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Chen, Shih-Wen Sue, and Sin Wen Lau. "Post-Socialist Femininity Unleashed/Restrained: Reconfigurations of Gender in Chinese Television Dramas." M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1118.

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In post-socialist China, gender norms are marked by rising divorce rates (Kleinman et al.), shifting attitudes towards sex (Farrer; Yan), and a growing commercialisation of sex (Zheng). These phenomena have been understood as indicative of market reforms unhinging past gender norms. In the socialist period, the radical politics of the time moulded women as gender neutral even as state policies emphasised their feminine roles in maintaining marital harmony and stability (Evans). These ideas around domesticity bear strong resemblance to pre-socialist understandings of womanhood and family that a
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Rayman, Jennifer. "The Politics and Practice of Voice: Representing American Sign Language on the Screen in Two Recent Television Crime Dramas." M/C Journal 13, no. 3 (2010). http://dx.doi.org/10.5204/mcj.273.

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Introduction In this paper, I examine the practices of representing Deaf ‘voices’’ to hearing audiences in two recent US television crime dramas. More literally I look at how American Sign Language is framed and made visible on the screen through various production decisions. Drawing examples from an episode of CSI: New York that aired in December 2006 and an episode of Law and Order: Criminal Intent that aired in April 2007, I examine how the practices of filming Deaf people and the use of American Sign Language intersect with the production of a Deaf ‘voice’ on the screen. The problem of rep
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Hassler-Forest, Dan. "“Two Birds with One Stone”: Transmedia Serialisation in Twin Peaks." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1364.

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It happened 27 years ago, in the autumn of 1990, but I remember it as if it were yesterday. Having set apart some of the cash I’d been given for my seventeenth birthday, I caught a train into the city with only one thing in mind: buying a copy of the newly-released book The Secret Diary of Laura Palmer. Having breathlessly devoured the eight-episode first season of Twin Peaks as it was broadcast on BBC2 from 23 October until 11 December 1990 (BBC), acquiring a copy of the “actual” diary that potentially held vital clues to the series’ central mystery—who killed Laura Palmer?—offered a temptati
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Green, Lelia. "The Work of Consumption." M/C Journal 4, no. 5 (2001). http://dx.doi.org/10.5204/mcj.1930.

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Russell Belk,in an amazing 1995 essay on consumption (where 22 of the 38 pages are references, demonstrating hyper-consumption in action), argues that the 1990s heralded a new understanding of consumer behaviour. In the shifting paradigm identified by Belk, the analytical focus of consumer behaviour research became translated from 'Economic/Psychological' to 'Sociological/Anthropological', and from a 'Focus on buying' to a 'Focus on consuming' (61). This made intuitive sense in a world of postmodern marketing (Brown), and it re-enforced an idea that had been put forward by Dallas Smythe that a
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Grandinetti, Justin Joseph. "A Question of Time: HQ Trivia and Mobile Streaming Temporality." M/C Journal 22, no. 6 (2019). http://dx.doi.org/10.5204/mcj.1601.

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One of the commonplace and myopic reactions to the rise of televisual time-shifting via video-on-demand, DVD rental services, illegal downloads, and streaming media was to decree “the death of the communal television experience”. For many, new forms of watching television unconstrained by time-bound, regularly scheduled programming meant the demise of the predominant form of media liveness that existed commercially since the 1950s. Nevertheless, as time-shifting practices evolved, so have attendant notions of televisual temporality—including changing forms of liveness, shared experience, and t
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Brabazon, Tara. "Black and Grey." M/C Journal 6, no. 2 (2003). http://dx.doi.org/10.5204/mcj.2165.

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Troubled visions of white ash and concrete-grey powder water-logged my mind. Just as I had ‘understood’ and ‘contextualised’ the events of September 11, I witnessed Jules and Gedeon Naudet’s 9/11, the documentary of the events, as they followed the firefighters into Tower One. Their cameras witness death, dense panic and ashen fear. I did not need to see this – it was too intimate and shocking. But it was the drained, grey visage – where the New York streets and people appeared like injured ghosts walking through the falling ruins of a paper mill – that will always stay with me. Not surprising
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Kirkwood, Katherine. "Tasting but not Tasting: MasterChef Australia and Vicarious Consumption." M/C Journal 17, no. 1 (2014). http://dx.doi.org/10.5204/mcj.761.

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IntroductionCroquembouche, blast chillers, and plating up—these terms have become normal to ordinary Australians despite Adriano Zumbo’s croquembouche recipe taking more than two hours to complete and blast chillers costing thousands of dollars. Network Ten’s reality talent quest MasterChef Australia (MCA) has brought fine dining and “foodie” culture to a mass audience who have responded enthusiastically. Vicariously “tasting” this once niche lifestyle is empowering viewers to integrate aspects of “foodie” culture into their everyday lives. It helps them become “everyday foodies.” “Everyday fo
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Gildersleeve, Jessica. "“Weird Melancholy” and the Modern Television Outback: Rage, Shame, and Violence in Wake in Fright and Mystery Road." M/C Journal 22, no. 1 (2019). http://dx.doi.org/10.5204/mcj.1500.

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In the middle of the nineteenth century, Marcus Clarke famously described the Australian outback as displaying a “Weird Melancholy” (qtd. in Gelder 116). The strange sights, sounds, and experiences of Australia’s rural locations made them ripe for the development of the European genre of the Gothic in a new location, a mutation which has continued over the past two centuries. But what does it mean for Australia’s Gothic landscapes to be associated with the affective qualities of the melancholy? And more particularly, how and why does this Gothic effect (and affect) appear in the most accessibl
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Kellner, Douglas. "Engaging Media Spectacle." M/C Journal 6, no. 3 (2003). http://dx.doi.org/10.5204/mcj.2202.

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In the contemporary era, media spectacle organizes and mobilizes economic life, political conflict, social interactions, culture, and everyday life. My recently published book Media Spectacle explores a profusion of developments in hi-tech culture, media-driven society, and spectacle politics. Spectacle culture involves everything from film and broadcasting to Internet cyberculture and encompasses phenomena ranging from elections to terrorism and to the media dramas of the moment. For ‘Logo’, I am accordingly sketching out briefly a terrain I probe in detail in the book from which these exampl
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Brown, Adam, and Leonie Rutherford. "Postcolonial Play: Constructions of Multicultural Identities in ABC Children's Projects." M/C Journal 14, no. 2 (2011). http://dx.doi.org/10.5204/mcj.353.

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In 1988, historian Nadia Wheatley and indigenous artist Donna Rawlins published their award-winning picture book, My Place, a reinterpretation of Australian national identity and sovereignty prompted by the bicentennial of white settlement. Twenty years later, the Australian Broadcasting Corporation (ABC) commissioned Penny Chapman’s multi-platform project based on this book. The 13 episodes of the television series begin in 2008, each telling the story of a child at a different point in history, and are accompanied by substantial interactive online content. Issues as diverse as religious diff
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Marshall, P. David. "Seriality and Persona." M/C Journal 17, no. 3 (2014). http://dx.doi.org/10.5204/mcj.802.

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No man [...] can wear one face to himself and another to the multitude, without finally getting bewildered as to which one may be true. (Nathaniel Hawthorne Scarlet Letter – as seen and pondered by Tony Soprano at Bowdoin College, The Sopranos, Season 1, Episode 5: “College”)The fictitious is a particular and varied source of insight into the everyday world. The idea of seriality—with its variations of the serial, series, seriated—is very much connected to our patterns of entertainment. In this essay, I want to begin the process of testing what values and meanings can be drawn from the idea of
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Pugsley, Peter. "At Home in Singaporean Sitcoms." M/C Journal 10, no. 4 (2007). http://dx.doi.org/10.5204/mcj.2695.

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 The use of the family home as a setting for television sitcoms (situation comedies) has long been recognised for its ability to provide audiences with an identifiable site of ontological security (much discussed by Giddens, Scannell, Saunders and others). From the beginnings of American sitcoms with such programs as Leave it to Beaver, and through the trail of The Brady Bunch, The Cosby Show, Roseanne, The Fresh Prince of Bel Air, and on to Home Improvement, That 70s Show and How I Met Your Mother, the US has led the way with screenwriters and producers capitalising on the
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Howley, Kevin. "Always Famous." M/C Journal 7, no. 5 (2004). http://dx.doi.org/10.5204/mcj.2452.

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Introduction A snapshot, not unlike countless photographs likely to be found in any number of family albums, shows two figures sitting on a park bench: an elderly and amiable looking man grins beneath the rim of a golf cap; a young boy of twelve smiles wide for the camera — a rather banal scene, captured on film. And yet, this seemingly innocent and unexceptional photograph was the site of a remarkable and wide ranging discourse — encompassing American conservatism, celebrity politics, and the end of the Cold War — as the image circulated around the globe during the weeklong state funeral of R
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Boler, Megan. "The Transmission of Political Critique after 9/11: “A New Form of Desperation”?" M/C Journal 9, no. 1 (2006). http://dx.doi.org/10.5204/mcj.2595.

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 Investigative journalist Bill Moyers interviews Jon Stewart of The Daily Show:
 MOYERS: I do not know whether you are practicing an old form of parody and satire…or a new form of journalism.
 STEWART: Well then that either speaks to the sad state of comedy or the sad state of news. I can’t figure out which one. I think, honestly, we’re practicing a new form of desperation….
 July 2003 (Bill Moyers Interview of Jon Stewart, on Public Broadcasting Service)
 
 
 Transmission, while always fraught and ever-changing, is particularly so at a moment
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Richardson-Self, Louise Victoria. "Coming Out and Fitting In: Same-Sex Marriage and the Politics of Difference." M/C Journal 15, no. 6 (2012). http://dx.doi.org/10.5204/mcj.572.

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Introduction This article argues in favour of same-sex marriage, but only under certain conditions. Same-sex marriage ought to be introduced in the Australian context in order to remedy the formal inequalities between lesbian, gay, bisexual and transgender (LGBT) citizens and their heterosexual/cisgendered counterparts. One common method of justifying the introduction of formal same-sex relationship recognition has been via the promotion of LGBT “normalcy.” This article explores such a trend by analysing popular media and advertising, since media representations and coverage have been shown to
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Tyler, Imogen. "Chav Scum." M/C Journal 9, no. 5 (2006). http://dx.doi.org/10.5204/mcj.2671.

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 In the last three years a new filthy vocabulary of social class has emerged in Britain. The word “chav”, and its various synonyms and regional variations, has become a ubiquitous term of abuse for white working class subjects. An entire slang vocabulary has emerged around chav. Acronyms, such as “Council Housed and Vile” have sprung up to explain the term. Folk etymologies and some scholarly sources suggest that the term chav might derive from a distortion of a Romany word for a child, while others suggests it is a derivative of the term charver, long used in the North Eas
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Stooksbury, Kara E., Lori Maxwell, and Cynthia S. Brown. ""Spin Zones" in American Presidential Elections." M/C Journal 14, no. 5 (2011). http://dx.doi.org/10.5204/mcj.410.

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If one morning I walked on top of the water across the Potomac River, the headline that afternoon would read: "President Can't Swim". —Lyndon B. Johnson Introduction The term “spin” implies manipulating the truth, and this concept, along with “spin doctoring,” is now common in media and public discourse. The prevalence of “spin zones” in American politics is undeniable; media outlets themselves, such as Bill O’Reilly’s “No Spin Zone” on Fox News, now run segments on the topic. Despite this apparent media certainty about what constitutes “spin” there is a lack of conceptual clarity regarding th
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Sampson, Peter. "Monastic Practices Countering a Culture of Consumption." M/C Journal 17, no. 6 (2014). http://dx.doi.org/10.5204/mcj.881.

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Over time, many groups have sought to offer alternatives to the dominant culture of the day; for example, the civil-rights movements, antiwar protests, and environmental activism of the 1960s and 1970s. Not all groupings however can be considered countercultural. Roberts makes a distinction between group culture where cultural patterns only influence part of one’s life, or for a limited period of time; and countercultures that are more wholistic, affecting all of life. An essential element in defining a counterculture is that it has a value-conflict with the dominant society (Yinger), and that
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Mole, Tom. "Hypertrophic Celebrity." M/C Journal 7, no. 5 (2004). http://dx.doi.org/10.5204/mcj.2424.

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Critics are always trying to catch up with the phenomena they analyse, and critics of celebrity culture are no different. For most of its history, the celebrity apparatus has had a vested interest in staying invisible. So long as it remained illegible to cultural analysis, it could claim to be simply a transparent medium for exhibiting star quality. The celebrity’s public profile could appear to be the well-earned result of talent and determination, or the seemingly magical crystallization of his or her personality. But recently, some of the mechanics of celebrity culture have gained their own
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