Pub Date : 2022-06-09DOI: 10.1177/15274764221097651
F. Talabi, T. Adaja, Samson Adepoju Bello, Omowale Adelabu, Oberiri Destiny Apuke, Gever Verlumun Celestine
The objective of this study was to determine the impact of reduced collaboration in TV news production on job satisfaction and to explore the contributing effect of modern technologies on reduced collaboration in TV news production in Nigeria. The researchers utilized a descriptive survey research design with a structured questionnaire as the instrument for data collection. The data for the study were analyzed using one-way analysis of variance (ANOVA) and a one-way multiple analysis of variance (MANOVA). The result of the study showed that reduced collaboration decreases job satisfaction. Also, modern technologies increase reduced collaboration. Further results showed that modern technologies have led to reduced collaboration in private TV stations more than federal and state TV stations. It was also found that the creative application of modern technologies will lead to increased collaboration and job satisfaction among TV stations in Nigeria.
{"title":"Television Production of Yesteryears, Today and in the Future: Impact of Reduced Collaboration in TV News Production on Job Satisfaction in Nigeria","authors":"F. Talabi, T. Adaja, Samson Adepoju Bello, Omowale Adelabu, Oberiri Destiny Apuke, Gever Verlumun Celestine","doi":"10.1177/15274764221097651","DOIUrl":"https://doi.org/10.1177/15274764221097651","url":null,"abstract":"The objective of this study was to determine the impact of reduced collaboration in TV news production on job satisfaction and to explore the contributing effect of modern technologies on reduced collaboration in TV news production in Nigeria. The researchers utilized a descriptive survey research design with a structured questionnaire as the instrument for data collection. The data for the study were analyzed using one-way analysis of variance (ANOVA) and a one-way multiple analysis of variance (MANOVA). The result of the study showed that reduced collaboration decreases job satisfaction. Also, modern technologies increase reduced collaboration. Further results showed that modern technologies have led to reduced collaboration in private TV stations more than federal and state TV stations. It was also found that the creative application of modern technologies will lead to increased collaboration and job satisfaction among TV stations in Nigeria.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"24 1","pages":"264 - 280"},"PeriodicalIF":2.0,"publicationDate":"2022-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48909612","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 : 2022-06-09DOI: 10.1177/15274764221102864
Olivia Khoo
This essay asks two related questions: what is unique about streaming services (and Netflix specifically), that generates a greater investment in the diversity of its content, and how does the technology associated with streaming, in particular algorithmic recommendation systems, facilitate an engagement with diversity and inclusion? To answer these questions the essay considers the relationship between Netflix’s Inclusion Strategy, its Recommender Algorithm, and the diversity of its content, exploring the complex set of relations that exist between the way Netflix recommends content to its audience and its (perceived) diversity.
{"title":"Picturing Diversity: Netflix’s Inclusion Strategy and the Netflix Recommender Algorithm (NRA)","authors":"Olivia Khoo","doi":"10.1177/15274764221102864","DOIUrl":"https://doi.org/10.1177/15274764221102864","url":null,"abstract":"This essay asks two related questions: what is unique about streaming services (and Netflix specifically), that generates a greater investment in the diversity of its content, and how does the technology associated with streaming, in particular algorithmic recommendation systems, facilitate an engagement with diversity and inclusion? To answer these questions the essay considers the relationship between Netflix’s Inclusion Strategy, its Recommender Algorithm, and the diversity of its content, exploring the complex set of relations that exist between the way Netflix recommends content to its audience and its (perceived) diversity.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"24 1","pages":"281 - 297"},"PeriodicalIF":2.0,"publicationDate":"2022-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49621084","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 : 2022-05-24DOI: 10.1177/15274764221096838
Krysten Stein
{"title":"Book Review: #HashtagActivism: Networks of Race and Gender Justice, by Sarah J. Jackson, Moya Bailey, and Brooke Foucault Welles","authors":"Krysten Stein","doi":"10.1177/15274764221096838","DOIUrl":"https://doi.org/10.1177/15274764221096838","url":null,"abstract":"","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"24 1","pages":"242 - 244"},"PeriodicalIF":2.0,"publicationDate":"2022-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45484820","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 : 2022-05-19DOI: 10.1177/15274764221087216
M. J. Clarke
This article historically examines the boom in US first-run syndication during the 1980s. At this time, Hollywood-based major distributors eagerly entered this market, thanks to regulatory and industrial changes, in an effort to create competing unwired television networks. The article presents a contextual history to describe these changes and uses two sustained case studies—Viacom’s Superboy and Buena Vista TV’s DuckTales—to more closely examine these syndicators. Through these case studies, the article demonstrates the shared industrial strategies of these distributors in exploiting pre-sold brands, globalized labor, and package deals for programing.
{"title":"First-Run Syndication and Unwired Networks in the 1980s: Viacom’s Superboy and Buena Vista TV’s DuckTales","authors":"M. J. Clarke","doi":"10.1177/15274764221087216","DOIUrl":"https://doi.org/10.1177/15274764221087216","url":null,"abstract":"This article historically examines the boom in US first-run syndication during the 1980s. At this time, Hollywood-based major distributors eagerly entered this market, thanks to regulatory and industrial changes, in an effort to create competing unwired television networks. The article presents a contextual history to describe these changes and uses two sustained case studies—Viacom’s Superboy and Buena Vista TV’s DuckTales—to more closely examine these syndicators. Through these case studies, the article demonstrates the shared industrial strategies of these distributors in exploiting pre-sold brands, globalized labor, and package deals for programing.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"24 1","pages":"221 - 241"},"PeriodicalIF":2.0,"publicationDate":"2022-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48566640","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 : 2022-05-13DOI: 10.1177/15274764221093602
J. Balanzategui, Andrew Lynch
Major subscription-video-on-demand (SVOD) services including Netflix and Apple TV+ target a wide range of consumers through catalogs that house a diverse variety of genres. However, as the SVOD ecology has evolved, services have emerged that focus on particular genres, and thus target enthusiasts of specific content types. This article examines the horror-focused SVOD service “Shudder” to highlight how these genre-specific SVOD services curate content in ways that differ from major services like Netflix. Unlike the top-tier generalist SVODs, niche services like Shudder do not appeal to users via personalized algorithmic recommendation of titles from a seemingly limitless catalog: instead, these services are branded around the affective pleasures of and fan cultures surrounding specific genres. Our analysis of Shudder combines interface and genre analysis to illuminate how the platform offers a “phenomenal experience” of generic immersion in ways that reflect on new intersections between SVOD platforms, genre, nostalgia, and cinephilic subcultures.
{"title":"“Shudder” and the Aesthetics and Platform Logics of Genre-Specific SVOD services","authors":"J. Balanzategui, Andrew Lynch","doi":"10.1177/15274764221093602","DOIUrl":"https://doi.org/10.1177/15274764221093602","url":null,"abstract":"Major subscription-video-on-demand (SVOD) services including Netflix and Apple TV+ target a wide range of consumers through catalogs that house a diverse variety of genres. However, as the SVOD ecology has evolved, services have emerged that focus on particular genres, and thus target enthusiasts of specific content types. This article examines the horror-focused SVOD service “Shudder” to highlight how these genre-specific SVOD services curate content in ways that differ from major services like Netflix. Unlike the top-tier generalist SVODs, niche services like Shudder do not appeal to users via personalized algorithmic recommendation of titles from a seemingly limitless catalog: instead, these services are branded around the affective pleasures of and fan cultures surrounding specific genres. Our analysis of Shudder combines interface and genre analysis to illuminate how the platform offers a “phenomenal experience” of generic immersion in ways that reflect on new intersections between SVOD platforms, genre, nostalgia, and cinephilic subcultures.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"24 1","pages":"156 - 172"},"PeriodicalIF":2.0,"publicationDate":"2022-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44723198","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 : 2022-05-13DOI: 10.1177/15274764221093600
Kiah E Bennett
This essay theorizes a millennial-era iteration of stand-up comedy: refractive comedy. Through close textual analysis of Hannah Gadsby’s Nanette (2018), I argue refractive comedy alters the message, affective nature, and form of stand-up comedy through a rejection of the dominant worldview and subsequent centering of marginalized standpoints. This essay examines Gadsby’s refraction in a broader discourse of industrial and cultural, gendered, and racial gatekeeping. I examine how refractive comedy, additionally, has inspired critical conversation on comedy’s role in relation to shared and collective trauma, as seen in Bo Burnham’s Inside (2021).
{"title":"The Refractive Comic: Nanette and Comedy From Inside Identity","authors":"Kiah E Bennett","doi":"10.1177/15274764221093600","DOIUrl":"https://doi.org/10.1177/15274764221093600","url":null,"abstract":"This essay theorizes a millennial-era iteration of stand-up comedy: refractive comedy. Through close textual analysis of Hannah Gadsby’s Nanette (2018), I argue refractive comedy alters the message, affective nature, and form of stand-up comedy through a rejection of the dominant worldview and subsequent centering of marginalized standpoints. This essay examines Gadsby’s refraction in a broader discourse of industrial and cultural, gendered, and racial gatekeeping. I examine how refractive comedy, additionally, has inspired critical conversation on comedy’s role in relation to shared and collective trauma, as seen in Bo Burnham’s Inside (2021).","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"24 1","pages":"139 - 155"},"PeriodicalIF":2.0,"publicationDate":"2022-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42825545","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 : 2022-05-13DOI: 10.1177/15274764221092159
James N. Gilmore, Bailey Troutman, Madeline DePuy, Katherine Kenney, Jessica Engel, Katherine Freed, Sidney Campbell, Savannah Garrigan
Many reports indicate higher education counseling centers are finding it difficult to keep pace with the growing rates of stress, anxiety, depression, and sleeping difficulties in undergraduate populations. Some universities are turning to telepsychology, or means of providing mental health care through videoconferencing, software, and other digital tools. This article analyzes one such platform, therapy assistance online (TAO), through a critical walkthrough of the platform’s self-help modules to consider how they communicate and construct care as individual labor which generates data for the platform. We argue that by removing traces of the therapist’s body and, in turn, dialogic communication, the platform produces modes of neoliberal self-care operationalized through data extraction, where the individual user works through modules while providing personal information to the platform. While TAO is offered as a solution to overcrowded and understaffed care facilities, it demonstrates some limitations of relying on third-party platforms to care for students.
{"title":"Stuck in a cul de sac of care: Therapy Assistance Online and the platformization of mental health services for college students","authors":"James N. Gilmore, Bailey Troutman, Madeline DePuy, Katherine Kenney, Jessica Engel, Katherine Freed, Sidney Campbell, Savannah Garrigan","doi":"10.1177/15274764221092159","DOIUrl":"https://doi.org/10.1177/15274764221092159","url":null,"abstract":"Many reports indicate higher education counseling centers are finding it difficult to keep pace with the growing rates of stress, anxiety, depression, and sleeping difficulties in undergraduate populations. Some universities are turning to telepsychology, or means of providing mental health care through videoconferencing, software, and other digital tools. This article analyzes one such platform, therapy assistance online (TAO), through a critical walkthrough of the platform’s self-help modules to consider how they communicate and construct care as individual labor which generates data for the platform. We argue that by removing traces of the therapist’s body and, in turn, dialogic communication, the platform produces modes of neoliberal self-care operationalized through data extraction, where the individual user works through modules while providing personal information to the platform. While TAO is offered as a solution to overcrowded and understaffed care facilities, it demonstrates some limitations of relying on third-party platforms to care for students.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"24 1","pages":"204 - 220"},"PeriodicalIF":2.0,"publicationDate":"2022-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46840947","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 : 2022-04-04DOI: 10.1177/15274764221084071
Bonnie Ruberg, Johanna Brewer
This article serves as the guest editors’ introduction to the Television and New Media special issue dedicated to gender and sexuality in live streaming. Live streaming is a key part of the contemporary digital media landscape; it sits at the center of wide-reaching shifts in how culture, entertainment, and labor are expressed and experienced online today. Gender and sexuality are crucial elements of live streaming. Across live streaming’s many forms, these elements manifest in myriad ways: from gendered performances to gender-based harassment, from LGBTQ community building to real-time sex work. This special issue models an interdisciplinary approach to studying gender and sexuality in live streaming, featuring scholarship from the humanities, social sciences, and human-computer interaction. It also serves as an impassioned call to those who study technological tools and platforms like live streaming to pay attention to the crucial roles that identity, power, embodiment, and intimacy play in these technologies. There can be no full cultural understanding of live streaming that does not address its entanglements with sexuality and gender.
{"title":"Digital Intimacy in Real Time: Live Streaming Gender and Sexuality","authors":"Bonnie Ruberg, Johanna Brewer","doi":"10.1177/15274764221084071","DOIUrl":"https://doi.org/10.1177/15274764221084071","url":null,"abstract":"This article serves as the guest editors’ introduction to the Television and New Media special issue dedicated to gender and sexuality in live streaming. Live streaming is a key part of the contemporary digital media landscape; it sits at the center of wide-reaching shifts in how culture, entertainment, and labor are expressed and experienced online today. Gender and sexuality are crucial elements of live streaming. Across live streaming’s many forms, these elements manifest in myriad ways: from gendered performances to gender-based harassment, from LGBTQ community building to real-time sex work. This special issue models an interdisciplinary approach to studying gender and sexuality in live streaming, featuring scholarship from the humanities, social sciences, and human-computer interaction. It also serves as an impassioned call to those who study technological tools and platforms like live streaming to pay attention to the crucial roles that identity, power, embodiment, and intimacy play in these technologies. There can be no full cultural understanding of live streaming that does not address its entanglements with sexuality and gender.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"23 1","pages":"443 - 450"},"PeriodicalIF":2.0,"publicationDate":"2022-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48581164","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 : 2022-03-30DOI: 10.1177/15274764221080923
Aswin Punathambekar, Padma Chirumamilla
This article engages with the history of television and television studies in South Asia to reflect on how “media” can be re-imagined as an object of analysis and critique. Questioning the analytic primacy accorded to film, we develop the concept of televisual drag and argue that bringing television to the fore can reveal different temporalities, modalities, and logics for the evolution of South Asian screen media, both in their past forms and current constitution. We critically engage with recent studies—of Indian women filmmakers, Pakistani comic shows and YouTube videos, and small-town video circulation in India—to illuminate the currents of televisual drag at work in contemporary media scholarship. We conclude by reflecting how how televisual drag might be a critical method for drawing insights from media histories, practices, and environments that do not or will not follow an easily comprehensible path toward a seemingly inevitable digital horizon.
{"title":"Televisual Drag: Reimagining South Asian Film and Media Studies","authors":"Aswin Punathambekar, Padma Chirumamilla","doi":"10.1177/15274764221080923","DOIUrl":"https://doi.org/10.1177/15274764221080923","url":null,"abstract":"This article engages with the history of television and television studies in South Asia to reflect on how “media” can be re-imagined as an object of analysis and critique. Questioning the analytic primacy accorded to film, we develop the concept of televisual drag and argue that bringing television to the fore can reveal different temporalities, modalities, and logics for the evolution of South Asian screen media, both in their past forms and current constitution. We critically engage with recent studies—of Indian women filmmakers, Pakistani comic shows and YouTube videos, and small-town video circulation in India—to illuminate the currents of televisual drag at work in contemporary media scholarship. We conclude by reflecting how how televisual drag might be a critical method for drawing insights from media histories, practices, and environments that do not or will not follow an easily comprehensible path toward a seemingly inevitable digital horizon.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"24 1","pages":"123 - 138"},"PeriodicalIF":2.0,"publicationDate":"2022-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45131579","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 : 2022-03-24DOI: 10.1177/15274764221080930
Christine H. Tran
From 2018 to 2021, the “egirl” witnessed a radical shift from her origins as a sexualized slur in online gaming. Through critical discourse analysis of news media of this period, this paper interprets this transformation within two primary phenomena: (1) the growth of women game influencers who reclaimed “egirl” slurs in their self-branding and (2) the launch of “Egirl.gg,” a platform for paid gaming companions. I argue that live streaming platform Twitch.tv, and the expansive ecosystems of labor its demand from streamers, were integral to this re-authorization of who can play as themselves in a patriarchal gaming culture. Here, I extend Ergin Bulut’s framework of “ludic authorship” to delineate how stakeholders in game streaming industries masculinize the cultural labor of “authenticity.” The ambivalent embrace of “egirling” via streaming cultural logics further complicates the work of women gamers who must work harder to realize careers in platformed entertainment.
{"title":"“Never Battle Alone”: Egirls and the Gender(ed) War on Video Game Live Streaming as “Real” Work","authors":"Christine H. Tran","doi":"10.1177/15274764221080930","DOIUrl":"https://doi.org/10.1177/15274764221080930","url":null,"abstract":"From 2018 to 2021, the “egirl” witnessed a radical shift from her origins as a sexualized slur in online gaming. Through critical discourse analysis of news media of this period, this paper interprets this transformation within two primary phenomena: (1) the growth of women game influencers who reclaimed “egirl” slurs in their self-branding and (2) the launch of “Egirl.gg,” a platform for paid gaming companions. I argue that live streaming platform Twitch.tv, and the expansive ecosystems of labor its demand from streamers, were integral to this re-authorization of who can play as themselves in a patriarchal gaming culture. Here, I extend Ergin Bulut’s framework of “ludic authorship” to delineate how stakeholders in game streaming industries masculinize the cultural labor of “authenticity.” The ambivalent embrace of “egirling” via streaming cultural logics further complicates the work of women gamers who must work harder to realize careers in platformed entertainment.","PeriodicalId":51551,"journal":{"name":"Television & New Media","volume":"23 1","pages":"509 - 520"},"PeriodicalIF":2.0,"publicationDate":"2022-03-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47808581","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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