Pub Date : 2023-09-28DOI: 10.1177/15274764231201970
Sujata Moorti
The award winning, Netflix comedy Unbreakable Kimmy Schmidt (2015–2019) broke new ground in representations of sexual violence. Recalibrating the energies of the sitcom to address issues of trauma, memory and witnessing, Unbreakable has helped craft a new esthetic of the genre. The four-season series replicates key features of the historical captivity narrative and the contemporaneous #MeToo movement. Ignoring the slave narrative of captivity and dispossession allows the series to sidestep the racialized dimensions of sexual assault. The narrative’s resolute focus on white survivors permits the series to mobilize trauma for comedic effect.
{"title":"Whiteness Makes the Laughs Possible: A Sitcom’s Representations of Sexual Violence","authors":"Sujata Moorti","doi":"10.1177/15274764231201970","DOIUrl":"https://doi.org/10.1177/15274764231201970","url":null,"abstract":"The award winning, Netflix comedy Unbreakable Kimmy Schmidt (2015–2019) broke new ground in representations of sexual violence. Recalibrating the energies of the sitcom to address issues of trauma, memory and witnessing, Unbreakable has helped craft a new esthetic of the genre. The four-season series replicates key features of the historical captivity narrative and the contemporaneous #MeToo movement. Ignoring the slave narrative of captivity and dispossession allows the series to sidestep the racialized dimensions of sexual assault. The narrative’s resolute focus on white survivors permits the series to mobilize trauma for comedic effect.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"73 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135425627","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-27DOI: 10.1177/15274764231201969
Michael Dango
This introduction to the “Rape, Genre, and TV after #MeToo” special issue articulates the importance of genre for understanding shifting affective and political norms related to sexual violence. Recent TV from the U.S. and the U.K. has worked to expand the public’s understanding of what counts in the genre of rape, bringing into view less discussed harms like nonconsensual condom removal. At the same time, public discussions of rape have put pressure on the conventions of genres, including the genres explored in this special issue: the procedural, stand-up comedy, the Western, and the situation comedy.
{"title":"Genres of Rape and Putting Rape Into Genre: Sexual Violence and TV After #MeToo","authors":"Michael Dango","doi":"10.1177/15274764231201969","DOIUrl":"https://doi.org/10.1177/15274764231201969","url":null,"abstract":"This introduction to the “Rape, Genre, and TV after #MeToo” special issue articulates the importance of genre for understanding shifting affective and political norms related to sexual violence. Recent TV from the U.S. and the U.K. has worked to expand the public’s understanding of what counts in the genre of rape, bringing into view less discussed harms like nonconsensual condom removal. At the same time, public discussions of rape have put pressure on the conventions of genres, including the genres explored in this special issue: the procedural, stand-up comedy, the Western, and the situation comedy.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135535343","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-25DOI: 10.1177/15274764231199974
Ruben Vandenplas
Despite being central to the media repertoire approach, operationalizations of interrelations of media repertoire components often remain limited to proportions of use, or the personal relevance of repertoire components. This paper seeks to contribute to our understanding of these interrelations by focusing specifically on one particular operationalization: the (in)compatibility of parts of the repertoire. Recent discussions in newspaper headlines indicate how Flemish reality TV-show Temptation Island might function as one such component, deemed incompatible with the repertoire of higher-educated young viewers. By drawing upon Lahire’s theory of dissonance, and exploring the appropriation of Temptation Island within repertoires through a moral economy of media use, the paper explores how young viewers under thirty-five make sense of “dissonant components” within their repertoire, and alleviate the tensions that their presence can create by adopting strategies that establish distance from the text or by hiding parts of the repertoire in certain social contexts.
{"title":"Dealing With Dissonance: The Appropriation of Temptation Island as a Dissonant Practice Within Media Repertoires","authors":"Ruben Vandenplas","doi":"10.1177/15274764231199974","DOIUrl":"https://doi.org/10.1177/15274764231199974","url":null,"abstract":"Despite being central to the media repertoire approach, operationalizations of interrelations of media repertoire components often remain limited to proportions of use, or the personal relevance of repertoire components. This paper seeks to contribute to our understanding of these interrelations by focusing specifically on one particular operationalization: the (in)compatibility of parts of the repertoire. Recent discussions in newspaper headlines indicate how Flemish reality TV-show Temptation Island might function as one such component, deemed incompatible with the repertoire of higher-educated young viewers. By drawing upon Lahire’s theory of dissonance, and exploring the appropriation of Temptation Island within repertoires through a moral economy of media use, the paper explores how young viewers under thirty-five make sense of “dissonant components” within their repertoire, and alleviate the tensions that their presence can create by adopting strategies that establish distance from the text or by hiding parts of the repertoire in certain social contexts.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"69 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135815652","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-01DOI: 10.1177/15274764221128923
Jake Pitre
The Walt Disney Company has maintained an aggressive approach to brand management for nearly a century. With the acquisition of a number of highly reputable companies, this aggression has become unignorable within the media industry. At the same time, Disney has embraced digital expansionism, culminating with the launch of its own on-demand streaming service, Disney+, in late 2019. The platform's documentary series offer a unique window into this new era of the Disney empire, usefully demonstrating the careful navigation of corporate legacy and history in the creation and maintenance of what I term brand futurity. Thinking critically about the concept of collective imaginaries in the context of the digital and streaming economies, this article argues that these docuseries illustrate Disney's digital corporate strategy as a narrativization of wonderful work and ever-expanding value.
{"title":"The Magical Work of Brand Futurity: The Mythmaking of Disney.","authors":"Jake Pitre","doi":"10.1177/15274764221128923","DOIUrl":"https://doi.org/10.1177/15274764221128923","url":null,"abstract":"<p><p>The Walt Disney Company has maintained an aggressive approach to brand management for nearly a century. With the acquisition of a number of highly reputable companies, this aggression has become unignorable within the media industry. At the same time, Disney has embraced digital expansionism, culminating with the launch of its own on-demand streaming service, Disney+, in late 2019. The platform's documentary series offer a unique window into this new era of the Disney empire, usefully demonstrating the careful navigation of corporate legacy and history in the creation and maintenance of what I term <i>brand futurity</i>. Thinking critically about the concept of collective imaginaries in the context of the digital and streaming economies, this article argues that these docuseries illustrate Disney's digital corporate strategy as a narrativization of wonderful work and ever-expanding value.</p>","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"24 6","pages":"712-729"},"PeriodicalIF":2.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://ftp.ncbi.nlm.nih.gov/pub/pmc/oa_pdf/2a/ff/10.1177_15274764221128923.PMC10406574.pdf","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"10305075","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-01DOI: 10.1177/15274764231171061
Lauren Berliner, J. Cohn
A number of “thought-pieces” have recently come out proclaiming with glee that genre, as we know it, is dead; that it has been put out of its misery by algorithmic recommendations, search engines, and a rapidly transforming entertainment industry (de Pontent 2022; Battan 2019; Cooperman 2021; Leneghan 2020; Petrusich 2021). They present genre as the hard barriers that make entertainment boring and suggest that there is a utopian potential in breaking them down. In response, we collectively argue that genre is not only alive and well but is indeed one of the more thought-provoking aspects of contemporary media and media studies, and worthy of continued study. During a period when you can watch television in a theater, see theatrical performances on Zoom, screen a big-budget feature film on your phone, and play a game on Netflix, questions around the relationship between medium and genre have rarely if ever been more salient or more fascinating. Media specificity, the question of what makes one medium distinct from others and what they are uniquely adept at expressing, becomes significantly more complex when exhibitors appear agnostic about how exactly content is shown and experienced. While medium may be the dominant way in which humanities scholars tend to define their fields and objects of study, the essays collected here point to the continuing relevance of genre across both the entertainment industry and the academy. Indeed, the entertainment industry has increasingly turned to genre distinctions to help them to organize their collections and appeal to users. Netflix and most other streaming services go into extreme specifics in their genre categories but hardly focus at all on what medium their content might consist of (a movie?, TV?, or Video game?). And as medium becomes a less salient category, it begins to look more like genre with flexible definitions and squishy boundaries rather than exact specifications. For instance, what exactly is television anymore? And when we call something a film, are we referring to its medium, its genre, both, or neither? Genre clearly still matters to audiences and industries; generic trains and intertextual
{"title":"Introduction to the special issue Genre After Media","authors":"Lauren Berliner, J. Cohn","doi":"10.1177/15274764231171061","DOIUrl":"https://doi.org/10.1177/15274764231171061","url":null,"abstract":"A number of “thought-pieces” have recently come out proclaiming with glee that genre, as we know it, is dead; that it has been put out of its misery by algorithmic recommendations, search engines, and a rapidly transforming entertainment industry (de Pontent 2022; Battan 2019; Cooperman 2021; Leneghan 2020; Petrusich 2021). They present genre as the hard barriers that make entertainment boring and suggest that there is a utopian potential in breaking them down. In response, we collectively argue that genre is not only alive and well but is indeed one of the more thought-provoking aspects of contemporary media and media studies, and worthy of continued study. During a period when you can watch television in a theater, see theatrical performances on Zoom, screen a big-budget feature film on your phone, and play a game on Netflix, questions around the relationship between medium and genre have rarely if ever been more salient or more fascinating. Media specificity, the question of what makes one medium distinct from others and what they are uniquely adept at expressing, becomes significantly more complex when exhibitors appear agnostic about how exactly content is shown and experienced. While medium may be the dominant way in which humanities scholars tend to define their fields and objects of study, the essays collected here point to the continuing relevance of genre across both the entertainment industry and the academy. Indeed, the entertainment industry has increasingly turned to genre distinctions to help them to organize their collections and appeal to users. Netflix and most other streaming services go into extreme specifics in their genre categories but hardly focus at all on what medium their content might consist of (a movie?, TV?, or Video game?). And as medium becomes a less salient category, it begins to look more like genre with flexible definitions and squishy boundaries rather than exact specifications. For instance, what exactly is television anymore? And when we call something a film, are we referring to its medium, its genre, both, or neither? Genre clearly still matters to audiences and industries; generic trains and intertextual","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"25 1","pages":"479 - 487"},"PeriodicalIF":2.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89392388","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-26DOI: 10.1177/15274764231171067
Kathleen Mchugh
How has the creation of neurodiverse female protagonists worked to make women’s anger generically viable, stripped of conventional stigma? The female T.V. showrunners of Crazy-Ex Girlfriend, Physical, and I May Destroy You fashion genres from musical comedy to autofiction, as feminist platforms through their leads’ diagnoses. These diagnoses facilitate serial generic narratives where the distinction between norm and pathology (the basis of feminized stigma, shame, and abjection) is inverted or blurred. What results is an intersectional complexity (of genre world and angry, neurodiverse character) that calls normative social strictures pointedly into question. These shows’ female, of color and queer characters generate intersectional “trouble” from stigmatized affects (shame, abjection, depression, rage) and bad behaviors (stalking, bullying, lying, and deception, vengeance, violence). Their narratives of angry, neurodiverse characters provide trenchant feminist platforms for rewriting cultural norms concerning women’s anger, sexuality, ambition, and appetite.
{"title":"“Genre as Feminist Platform: Diagnosis, Anger, and Serial T.V.”","authors":"Kathleen Mchugh","doi":"10.1177/15274764231171067","DOIUrl":"https://doi.org/10.1177/15274764231171067","url":null,"abstract":"How has the creation of neurodiverse female protagonists worked to make women’s anger generically viable, stripped of conventional stigma? The female T.V. showrunners of Crazy-Ex Girlfriend, Physical, and I May Destroy You fashion genres from musical comedy to autofiction, as feminist platforms through their leads’ diagnoses. These diagnoses facilitate serial generic narratives where the distinction between norm and pathology (the basis of feminized stigma, shame, and abjection) is inverted or blurred. What results is an intersectional complexity (of genre world and angry, neurodiverse character) that calls normative social strictures pointedly into question. These shows’ female, of color and queer characters generate intersectional “trouble” from stigmatized affects (shame, abjection, depression, rage) and bad behaviors (stalking, bullying, lying, and deception, vengeance, violence). Their narratives of angry, neurodiverse characters provide trenchant feminist platforms for rewriting cultural norms concerning women’s anger, sexuality, ambition, and appetite.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"24 1","pages":"535 - 548"},"PeriodicalIF":2.0,"publicationDate":"2023-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44112286","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-05DOI: 10.1177/15274764231171119
L. Westrup
Music videos continue to be one of the most adaptable forms of media due to their unique ability to remediate everything from Western films to Zoom meetings. Their relatively low budgets and ever flexible assemblages of audiovisual components make them sites for experimentation, and they regularly recombine generic conventions from a range of media. This essay makes the case that studying music video demands a multifaceted approach to genre: if we accept that music video is a moving assemblage of genres and media, we can move toward unpacking the unique configurations of genre and medium in a given music video or subset of music videos. This method might suggest a shift in the way we think through genre in the future, moving away from single genre studies (however expansive or changeable a given genre might be) and toward studies that treat genre in a more recombinatory way.
{"title":"Music Video, Remediation, and Generic Recombination","authors":"L. Westrup","doi":"10.1177/15274764231171119","DOIUrl":"https://doi.org/10.1177/15274764231171119","url":null,"abstract":"Music videos continue to be one of the most adaptable forms of media due to their unique ability to remediate everything from Western films to Zoom meetings. Their relatively low budgets and ever flexible assemblages of audiovisual components make them sites for experimentation, and they regularly recombine generic conventions from a range of media. This essay makes the case that studying music video demands a multifaceted approach to genre: if we accept that music video is a moving assemblage of genres and media, we can move toward unpacking the unique configurations of genre and medium in a given music video or subset of music videos. This method might suggest a shift in the way we think through genre in the future, moving away from single genre studies (however expansive or changeable a given genre might be) and toward studies that treat genre in a more recombinatory way.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"24 1","pages":"571 - 583"},"PeriodicalIF":2.0,"publicationDate":"2023-05-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48350741","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-05DOI: 10.1177/15274764231171076
Andrea Andiloro
This article advances an affect-based theorization of genre as atmospheric assemblage by applying such a framework to an analysis of videogame genre. The affective excess originating from the relations between the components of the assemblage is experienced by the player as a specific type of thinking-moving-feeling understood as a wholistic atmosphere. By looking at the cases of the soulsborne, rouguelike, and metroidvania genres, the article explains how an assemblage framework is useful to explain how players experience individual videogames as belonging to the same genre despite noticeable differences between them. On the other hand, a final example, that of the puzzle game, illustrates how minimal changes to the articulation of an assemblage enables quite different experiences for the players that may result in the establishment of a different genre. This article suggests that the atmospheric assemblage framework could be applied to other media forms, such as television and film.
{"title":"Understanding Genre as Atmospheric Assemblage: The Case of Videogames","authors":"Andrea Andiloro","doi":"10.1177/15274764231171076","DOIUrl":"https://doi.org/10.1177/15274764231171076","url":null,"abstract":"This article advances an affect-based theorization of genre as atmospheric assemblage by applying such a framework to an analysis of videogame genre. The affective excess originating from the relations between the components of the assemblage is experienced by the player as a specific type of thinking-moving-feeling understood as a wholistic atmosphere. By looking at the cases of the soulsborne, rouguelike, and metroidvania genres, the article explains how an assemblage framework is useful to explain how players experience individual videogames as belonging to the same genre despite noticeable differences between them. On the other hand, a final example, that of the puzzle game, illustrates how minimal changes to the articulation of an assemblage enables quite different experiences for the players that may result in the establishment of a different genre. This article suggests that the atmospheric assemblage framework could be applied to other media forms, such as television and film.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"24 1","pages":"559 - 570"},"PeriodicalIF":2.0,"publicationDate":"2023-05-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43097061","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-03DOI: 10.1177/15274764231171070
Andrea Braithwaite
Hallmark movies are a hit. While most broadcast networks in the United States and Canada are struggling to maintain an audience, Hallmark has launched three additional cable networks and services in the past four years. Much of this success can be attributed to Hallmark’s investment—both ideological and economic—in the made-for-TV movie, a form of programing that Hallmark has re-popularized and re-branded—and transformed into a genre. To work through my suggestion that we consider the Hallmark movie as a genre, in the same way we can speak productively about the Western or the buddy cop film, I examine: the structure and content of the Hallmark movie formula; the movies’ use of studio system-style production practices; and fan discourses and fan-made content. In re-visiting the Hallmark made-for-TV movie as a genre, we can gain greater insight into how both genres and media companies are navigating the digital media environment.
{"title":"From Brand to Genre: The Hallmark Movie","authors":"Andrea Braithwaite","doi":"10.1177/15274764231171070","DOIUrl":"https://doi.org/10.1177/15274764231171070","url":null,"abstract":"Hallmark movies are a hit. While most broadcast networks in the United States and Canada are struggling to maintain an audience, Hallmark has launched three additional cable networks and services in the past four years. Much of this success can be attributed to Hallmark’s investment—both ideological and economic—in the made-for-TV movie, a form of programing that Hallmark has re-popularized and re-branded—and transformed into a genre. To work through my suggestion that we consider the Hallmark movie as a genre, in the same way we can speak productively about the Western or the buddy cop film, I examine: the structure and content of the Hallmark movie formula; the movies’ use of studio system-style production practices; and fan discourses and fan-made content. In re-visiting the Hallmark made-for-TV movie as a genre, we can gain greater insight into how both genres and media companies are navigating the digital media environment.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"24 1","pages":"488 - 498"},"PeriodicalIF":2.0,"publicationDate":"2023-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43844351","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-03DOI: 10.1177/15274764231171118
Caetlin Benson-Allott
Many scholars have noted that the US video rental boom of the mid-1980s led to a surge in horror production, yet few acknowledge that these features were not in fact films. Direct-to-video (DTV) horror movies like Breeders–The Sexual Invasion and Video Violence were not made for and never received theatrical release, yet they were repeatedly pilloried as failed films. Dispensing with the preconception that DTV movies would or should follow the same genre norms as films, this essay argues that DTV horror movies demonstrate their creators’ exploration and creation of a new medium. The conventions of 1980s DTV horror are not the same as those of contemporaneous US horror films, and contrasting them shows how genre helped DTV creators develop the automatisms of videotape and how DTV horror can help scholars identify the norms and logic of contemporary on-demand culture.
{"title":"Temporal Dispersions of Disgust: Or, Reconceiving Genre Through Direct-to-Video Horror","authors":"Caetlin Benson-Allott","doi":"10.1177/15274764231171118","DOIUrl":"https://doi.org/10.1177/15274764231171118","url":null,"abstract":"Many scholars have noted that the US video rental boom of the mid-1980s led to a surge in horror production, yet few acknowledge that these features were not in fact films. Direct-to-video (DTV) horror movies like Breeders–The Sexual Invasion and Video Violence were not made for and never received theatrical release, yet they were repeatedly pilloried as failed films. Dispensing with the preconception that DTV movies would or should follow the same genre norms as films, this essay argues that DTV horror movies demonstrate their creators’ exploration and creation of a new medium. The conventions of 1980s DTV horror are not the same as those of contemporaneous US horror films, and contrasting them shows how genre helped DTV creators develop the automatisms of videotape and how DTV horror can help scholars identify the norms and logic of contemporary on-demand culture.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"24 1","pages":"499 - 509"},"PeriodicalIF":2.0,"publicationDate":"2023-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45604022","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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