Pub Date : 2022-12-03DOI: 10.1177/15274764221137245
Jennifer Petersen
This article analyzes current debates over search engine regulation and free speech. In these debates, Google and other companies have relied on the “editorial analogy”: that search results are equ...
{"title":"Search Engines and Free Speech: A Historical Analysis of Editorial Analogies and the Position of Media Companies and Users in US Free Speech Discourse","authors":"Jennifer Petersen","doi":"10.1177/15274764221137245","DOIUrl":"https://doi.org/10.1177/15274764221137245","url":null,"abstract":"This article analyzes current debates over search engine regulation and free speech. In these debates, Google and other companies have relied on the “editorial analogy”: that search results are equ...","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"87 ","pages":""},"PeriodicalIF":2.0,"publicationDate":"2022-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138505802","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 : 2022-12-03DOI: 10.1177/15274764221134520
Lauren Bliss, Bjørn Nansen
This paper unearths the archeology of reaction media across cinema, television and the Internet. We show how reaction content exists in high and low modes, tracing their reoccurrence and remediatio...
{"title":"Reaction Media: Archeology of an Intermedium","authors":"Lauren Bliss, Bjørn Nansen","doi":"10.1177/15274764221134520","DOIUrl":"https://doi.org/10.1177/15274764221134520","url":null,"abstract":"This paper unearths the archeology of reaction media across cinema, television and the Internet. We show how reaction content exists in high and low modes, tracing their reoccurrence and remediatio...","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"83 ","pages":""},"PeriodicalIF":2.0,"publicationDate":"2022-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138505803","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 : 2022-11-28DOI: 10.1177/15274764221137250
Aynne Kokas
This article offers a framework to discuss when a community’s data is moved abroad without their informed consent, a practice I term data trafficking. I analyze Grindr, an LGBTQIA+ dating platform that has changed hands between China and the United States to demonstrate what data trafficking is, how it undermines national sovereignty, and how it erodes human rights. In the United States, corporate policies are the leading indicator for data governance practices, influencing a system known as multi-stakeholderism. In China, forced localization to government servers drives data governance practices. This article extends how we think about transnational consumer data security by examining how weak data security designed to support the growth of Silicon Valley firms amplifies the capacity of extra-territorial data governance practices asserted by the Chinese government.
{"title":"Data Trafficking and the International Risks of Surveillance Capitalism: The Case of Grindr and China","authors":"Aynne Kokas","doi":"10.1177/15274764221137250","DOIUrl":"https://doi.org/10.1177/15274764221137250","url":null,"abstract":"This article offers a framework to discuss when a community’s data is moved abroad without their informed consent, a practice I term data trafficking. I analyze Grindr, an LGBTQIA+ dating platform that has changed hands between China and the United States to demonstrate what data trafficking is, how it undermines national sovereignty, and how it erodes human rights. In the United States, corporate policies are the leading indicator for data governance practices, influencing a system known as multi-stakeholderism. In China, forced localization to government servers drives data governance practices. This article extends how we think about transnational consumer data security by examining how weak data security designed to support the growth of Silicon Valley firms amplifies the capacity of extra-territorial data governance practices asserted by the Chinese government.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"24 1","pages":"673 - 690"},"PeriodicalIF":2.0,"publicationDate":"2022-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46373164","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 : 2022-11-06DOI: 10.1177/15274764221134778
Casta Sligh, C. Abidin
While brand-run accounts of Twitter have attracted many a meme for their hit-and-miss attempts at relatable humor, on Instagram one type of brand account is quietly thriving: the Netflix Original series Instagram account. This paper studies brand personification on social media at a niche angle. By analyzing posts from three popular Netflix Original series Instagram accounts, we found that each account co-ops fan practices and enacts its own specific fannish persona. This paper reports on how and why Netflix enacts a fannish persona on its Original series Instagram accounts, to locate the personified Instagram account within the context of social media communication strategies. As the original advertisers of Instagram, there is established research on influencers which investigates the implications of people turning themselves into brands. What may call for more research in the future is the opposite: what are the consequences of brands turning themselves into people?
{"title":"When Brands Become Stans: Netflix, Originals, and Enacting a Fannish Persona on Instagram","authors":"Casta Sligh, C. Abidin","doi":"10.1177/15274764221134778","DOIUrl":"https://doi.org/10.1177/15274764221134778","url":null,"abstract":"While brand-run accounts of Twitter have attracted many a meme for their hit-and-miss attempts at relatable humor, on Instagram one type of brand account is quietly thriving: the Netflix Original series Instagram account. This paper studies brand personification on social media at a niche angle. By analyzing posts from three popular Netflix Original series Instagram accounts, we found that each account co-ops fan practices and enacts its own specific fannish persona. This paper reports on how and why Netflix enacts a fannish persona on its Original series Instagram accounts, to locate the personified Instagram account within the context of social media communication strategies. As the original advertisers of Instagram, there is established research on influencers which investigates the implications of people turning themselves into brands. What may call for more research in the future is the opposite: what are the consequences of brands turning themselves into people?","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"24 1","pages":"616 - 638"},"PeriodicalIF":2.0,"publicationDate":"2022-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48978915","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 : 2022-11-03DOI: 10.1177/15274764221131945
Ella Fegitz
This article identifies an important conversation about the politics of female anger in older age in the CBS show The Good Fight (2017–). By centring the narrative around the emotional life of a woman in her 60s, the show offers older femininity as a site for discussing social and political changes that have occurred in the USA in the aftermath of the election of Donald Trump. Through a close analysis of the four seasons that were released before the Covid-19 pandemic, this article maps the emotional journey of Diane Lockheart through her personal, economic, and political crises, showing how different emotions are connected with Diane’s engagement—and at times disengagement—with politics. Ultimately, the article contributes to the field of feminist cultural studies by exploring the way The Good Fight offers female anger in older age as key to feminist engagement and political change.
{"title":"The Politics of Female Anger in Older Age: The Good Fight, Older Femininity and Political Change","authors":"Ella Fegitz","doi":"10.1177/15274764221131945","DOIUrl":"https://doi.org/10.1177/15274764221131945","url":null,"abstract":"This article identifies an important conversation about the politics of female anger in older age in the CBS show The Good Fight (2017–). By centring the narrative around the emotional life of a woman in her 60s, the show offers older femininity as a site for discussing social and political changes that have occurred in the USA in the aftermath of the election of Donald Trump. Through a close analysis of the four seasons that were released before the Covid-19 pandemic, this article maps the emotional journey of Diane Lockheart through her personal, economic, and political crises, showing how different emotions are connected with Diane’s engagement—and at times disengagement—with politics. Ultimately, the article contributes to the field of feminist cultural studies by exploring the way The Good Fight offers female anger in older age as key to feminist engagement and political change.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"24 1","pages":"397 - 413"},"PeriodicalIF":2.0,"publicationDate":"2022-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49279495","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 : 2022-11-01Epub Date: 2021-05-19DOI: 10.1177/15274764211016305
Jennifer Duggan
Cultural studies scholars have long been interested in the nexus between people's online activities and their identities. One activity that has drawn attention is reading/writing fan fiction (fictions written by and for fans that build upon the characters and worlds depicted in commercial texts). While fan fiction and its surrounding communities have long been understood as resistant to heteronormativity, previous work exploring the fans who produce and consume fan fiction has largely insisted that most of these fans are adult ciswomen. Little has been written about the experiences of trans and genderqueer fans. To remedy this elision, this article explores two trans and genderqueer individuals' experiences with fan fiction. It closely examines the roles reading, and especially reading fan fiction, has or has not played in their understandings of themselves, their identities, and their places in the world.
{"title":"\"Worlds. . .[of] Contingent Possibilities\": Genderqueer and Trans Adolescents Reading Fan Fiction.","authors":"Jennifer Duggan","doi":"10.1177/15274764211016305","DOIUrl":"https://doi.org/10.1177/15274764211016305","url":null,"abstract":"<p><p>Cultural studies scholars have long been interested in the nexus between people's online activities and their identities. One activity that has drawn attention is reading/writing fan fiction (fictions written by and for fans that build upon the characters and worlds depicted in commercial texts). While fan fiction and its surrounding communities have long been understood as resistant to heteronormativity, previous work exploring the fans who produce and consume fan fiction has largely insisted that most of these fans are adult ciswomen. Little has been written about the experiences of trans and genderqueer fans. To remedy this elision, this article explores two trans and genderqueer individuals' experiences with fan fiction. It closely examines the roles reading, and especially reading fan fiction, has or has not played in their understandings of themselves, their identities, and their places in the world.</p>","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"23 7","pages":"703-720"},"PeriodicalIF":2.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/15274764211016305","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"40440097","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 : 2022-10-17DOI: 10.1177/15274764221128925
Sheng Zou
With the promulgation of the “rural revitalization” initiative, China has been promoting the marriage between technology and rurality to chart a digital future for what is christened “a new countryside.” Rural revitalization is not simply a socio-economic project but a profoundly ideological one, which choreographs a socio-spatial order, fashions an aspirational rural subjectivity, and realigns imaginaries of rurality. This article examines the role of short video in fostering an emergent rural performativity in line with official ideology through idyll-icized displays of rural lifestyles and landscapes, which are loaded with affective and ideological connotations. A scopic contact zone is thus carved out between rural vloggers and urban viewers, one characterized by mutual appropriation and strategic differentiation. This article foregrounds the limitations of this urban-rural contact zone and its immanent “cruel optimism,” while advocating a kind of radical utopia to enable imaginations of the alternative futures of digital rurality.
{"title":"Curating a Scopic Contact Zone: Short Video, Rural Performativity, and the Mediatization of Socio-Spatial Order in China","authors":"Sheng Zou","doi":"10.1177/15274764221128925","DOIUrl":"https://doi.org/10.1177/15274764221128925","url":null,"abstract":"With the promulgation of the “rural revitalization” initiative, China has been promoting the marriage between technology and rurality to chart a digital future for what is christened “a new countryside.” Rural revitalization is not simply a socio-economic project but a profoundly ideological one, which choreographs a socio-spatial order, fashions an aspirational rural subjectivity, and realigns imaginaries of rurality. This article examines the role of short video in fostering an emergent rural performativity in line with official ideology through idyll-icized displays of rural lifestyles and landscapes, which are loaded with affective and ideological connotations. A scopic contact zone is thus carved out between rural vloggers and urban viewers, one characterized by mutual appropriation and strategic differentiation. This article foregrounds the limitations of this urban-rural contact zone and its immanent “cruel optimism,” while advocating a kind of radical utopia to enable imaginations of the alternative futures of digital rurality.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"24 1","pages":"452 - 470"},"PeriodicalIF":2.0,"publicationDate":"2022-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45732970","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 : 2022-10-17DOI: 10.1177/15274764221125742
Lachlan Ross, L. Craig
Reproductive domestic labor is shifting from its old norm of invisibly creating and maintaining labor power in the highly private and ostensibly non-economic zone of the household. This paper asks whether new forms of complex motherhood, and the means presented to mothers for coping with them in the digital age, should be conceived of as further unpaid labor that sits on top of old forms of exploitation. As mothers increasingly become digital reproductive laborers, the family home is becoming a public and highly economized zone: a workhouse for both standard employers and emerging parties who designate themselves as merely providing online services. In contrast to the frequently posited thesis that mothers are only indirectly drawn into the circuit of capital, this paper argues that the current situation creates the “mother commodity”: a being whose social reproductive labor time is supercommodified via the normative addition of “audience commodity” labor duties.
{"title":"On Digital Reproductive Labor and the “Mother Commodity”","authors":"Lachlan Ross, L. Craig","doi":"10.1177/15274764221125742","DOIUrl":"https://doi.org/10.1177/15274764221125742","url":null,"abstract":"Reproductive domestic labor is shifting from its old norm of invisibly creating and maintaining labor power in the highly private and ostensibly non-economic zone of the household. This paper asks whether new forms of complex motherhood, and the means presented to mothers for coping with them in the digital age, should be conceived of as further unpaid labor that sits on top of old forms of exploitation. As mothers increasingly become digital reproductive laborers, the family home is becoming a public and highly economized zone: a workhouse for both standard employers and emerging parties who designate themselves as merely providing online services. In contrast to the frequently posited thesis that mothers are only indirectly drawn into the circuit of capital, this paper argues that the current situation creates the “mother commodity”: a being whose social reproductive labor time is supercommodified via the normative addition of “audience commodity” labor duties.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"24 1","pages":"639 - 655"},"PeriodicalIF":2.0,"publicationDate":"2022-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45377319","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 : 2022-09-26DOI: 10.1177/15274764221125745
Karin van Es
Netflix actively fueled what is known as the myth of big data, promoting their recommender system and data-driven production as cutting-edge, all-seeing, and all-knowing. Today, however, the company is increasingly acknowledging the role of human expertise and creativity. In this paper I explore the strategic repositioning of Netflix from technology company to entertainment company, enabling them to be understood as both “data” and “gut.” This transformation is discussed as motivated by the increasing public criticism of data and algorithms and the company’s foray into original programing. More specifically, I examine how Netflix, in public-facing materials, discusses big data and how those ideas are taken up in public discourse. These sources disclose an assumption of opposing characteristics between data and human expertise and creativity. As a point of a larger critique, I comment on the limitations of this data and human opposition for thinking about Netflix and technologies at large.
{"title":"Netflix & Big Data: The Strategic Ambivalence of an Entertainment Company","authors":"Karin van Es","doi":"10.1177/15274764221125745","DOIUrl":"https://doi.org/10.1177/15274764221125745","url":null,"abstract":"Netflix actively fueled what is known as the myth of big data, promoting their recommender system and data-driven production as cutting-edge, all-seeing, and all-knowing. Today, however, the company is increasingly acknowledging the role of human expertise and creativity. In this paper I explore the strategic repositioning of Netflix from technology company to entertainment company, enabling them to be understood as both “data” and “gut.” This transformation is discussed as motivated by the increasing public criticism of data and algorithms and the company’s foray into original programing. More specifically, I examine how Netflix, in public-facing materials, discusses big data and how those ideas are taken up in public discourse. These sources disclose an assumption of opposing characteristics between data and human expertise and creativity. As a point of a larger critique, I comment on the limitations of this data and human opposition for thinking about Netflix and technologies at large.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"24 1","pages":"656 - 672"},"PeriodicalIF":2.0,"publicationDate":"2022-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42844130","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 : 2022-09-17DOI: 10.1177/15274764221123036
Matan Aharoni
In a diverse media ecosystem of transitions and integrations, this research uses polysystem theory to conceptualize the integration of alternative media systems within their mainstream media counterparts. These interactions are examined using interviews and participant observations through three case studies—(1–2) Integration of two independent web-content creator groups into mainstream Israeli television system and (3) integration of ultra-Orthodox filmmakers into mainstream Israeli cinema system. The findings show that stiff and flexible systems are two main forms of characterizing relations between alternative and mainstream systems—defined based on the specific interests and implications for each media system, including integrated content, producer perceptions, and audience reception. It includes themes of recognition, conservatism, novelty, freedom, and authenticity. The interactions reveal processes of diffusion or symbiosis of the source system’s products. The findings contribute to a theoretical model of media interactions that offers ways of examining and defining the characteristics of media system interactions.
{"title":"When Mainstream and Alternative Media Integrate: A Polysystem Approach to Media System Interactions","authors":"Matan Aharoni","doi":"10.1177/15274764221123036","DOIUrl":"https://doi.org/10.1177/15274764221123036","url":null,"abstract":"In a diverse media ecosystem of transitions and integrations, this research uses polysystem theory to conceptualize the integration of alternative media systems within their mainstream media counterparts. These interactions are examined using interviews and participant observations through three case studies—(1–2) Integration of two independent web-content creator groups into mainstream Israeli television system and (3) integration of ultra-Orthodox filmmakers into mainstream Israeli cinema system. The findings show that stiff and flexible systems are two main forms of characterizing relations between alternative and mainstream systems—defined based on the specific interests and implications for each media system, including integrated content, producer perceptions, and audience reception. It includes themes of recognition, conservatism, novelty, freedom, and authenticity. The interactions reveal processes of diffusion or symbiosis of the source system’s products. The findings contribute to a theoretical model of media interactions that offers ways of examining and defining the characteristics of media system interactions.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"24 1","pages":"691 - 711"},"PeriodicalIF":2.0,"publicationDate":"2022-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47464601","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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