Pub Date : 2025-03-19DOI: 10.1177/17496020251325372
Will Kitchen
{"title":"Book Review: Creating the Viewer: Market Research and the Evolving Media Ecosystem WyattJustin, Creating the Viewer: Market Research and the Evolving Media Ecosystem. Austin: University of Texas Press, 2024; 313 pp. ISBN 1477316515, £87.00 (hbk), 1477329064, £27.99 (pbk)","authors":"Will Kitchen","doi":"10.1177/17496020251325372","DOIUrl":"https://doi.org/10.1177/17496020251325372","url":null,"abstract":"","PeriodicalId":51917,"journal":{"name":"Critical Studies in Television","volume":"26 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2025-03-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143661235","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-03-14DOI: 10.1177/17496020251327096
Guillermo Echauri
This article examines Prime Video’s original comedy content in Mexico through aesthetic and industrial analysis, and identifies, describes and explains non-disruptive streaming television programming, a category of streaming television content that represents a clear sense of continuity with legacy television. This study highlights the relevance of Mexican actor and producer Eugenio Derbez and his family in Prime Video’s expansion in Mexico. It also reveals that non-disruptive streaming prolongs tensions between continuity and change in television, exemplifies the negotiations and adaptations from transnational streaming expansion, and helps explain the mainstream adoption of streaming platforms in markets like Mexico.
{"title":"Non-disruptive streaming: Aesthetic and industrial continuation of legacy television in Prime Video Mexico","authors":"Guillermo Echauri","doi":"10.1177/17496020251327096","DOIUrl":"https://doi.org/10.1177/17496020251327096","url":null,"abstract":"This article examines Prime Video’s original comedy content in Mexico through aesthetic and industrial analysis, and identifies, describes and explains non-disruptive streaming television programming, a category of streaming television content that represents a clear sense of continuity with legacy television. This study highlights the relevance of Mexican actor and producer Eugenio Derbez and his family in Prime Video’s expansion in Mexico. It also reveals that non-disruptive streaming prolongs tensions between continuity and change in television, exemplifies the negotiations and adaptations from transnational streaming expansion, and helps explain the mainstream adoption of streaming platforms in markets like Mexico.","PeriodicalId":51917,"journal":{"name":"Critical Studies in Television","volume":"89 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2025-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143627483","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-03-14DOI: 10.1177/17496020251327086
Amanda D Lotz
The multifaceted change in series production and distribution since the turn of the century has diversified industrial structures and, correspondingly, expanded the scope of commercially viable storytelling. This expansion has introduced variation that has made it difficult to make claims of television series to the extent once possible. This article identifies ‘modes of industrial practice’ as a heuristic for subcategorizing series based on differentiated industrial conditions that better enables the identification of consistent subfields of series.
{"title":"US television’s expanding modes of industrial practice","authors":"Amanda D Lotz","doi":"10.1177/17496020251327086","DOIUrl":"https://doi.org/10.1177/17496020251327086","url":null,"abstract":"The multifaceted change in series production and distribution since the turn of the century has diversified industrial structures and, correspondingly, expanded the scope of commercially viable storytelling. This expansion has introduced variation that has made it difficult to make claims of television series to the extent once possible. This article identifies ‘modes of industrial practice’ as a heuristic for subcategorizing series based on differentiated industrial conditions that better enables the identification of consistent subfields of series.","PeriodicalId":51917,"journal":{"name":"Critical Studies in Television","volume":"183 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2025-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143627482","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-02-25DOI: 10.1177/17496020251321738
Francesco Casetti, Roger Odin
This article is an English-language translation of ‘De la paléo- à la néo-télévision’ by Francesco Casetti and Roger Odin (1990), originally published in French. The article highlights transformations in the transition from paleo- to neo-television in France and Italy at the time when private television proliferated in Europe. From a semio-pragmatic perspective, it seeks to understand how the change in ‘ dispositif’ leads to changes in the spectator’s positioning. Paleo-television is described as an ‘institution’, founded on a project of cultural and popular education. Neo-television breaks with this pedagogical communication model through interactive processes. The article theorises the two models and points towards their intersections.
这篇文章是对Francesco Casetti和Roger Odin（1990）的《De la palsamo - la nsamo - tsaml - 》的英文翻译，最初以法语出版。本文着重介绍了私人电视在欧洲蓬勃发展的时期，法国和意大利从古电视向新电视过渡的转变。从半实用主义的角度来看，它试图理解“处置”的变化如何导致观众定位的变化。古电视被描述为一种建立在文化和大众教育项目上的“机构”。新电视通过互动过程打破了这种教学传播模式。本文将这两种模式理论化，并指出它们的交集。
{"title":"From paleo- to neo-television: A semio-pragmatic approach","authors":"Francesco Casetti, Roger Odin","doi":"10.1177/17496020251321738","DOIUrl":"https://doi.org/10.1177/17496020251321738","url":null,"abstract":"This article is an English-language translation of ‘De la paléo- à la néo-télévision’ by Francesco Casetti and Roger Odin (1990), originally published in French. The article highlights transformations in the transition from paleo- to neo-television in France and Italy at the time when private television proliferated in Europe. From a semio-pragmatic perspective, it seeks to understand how the change in ‘ dispositif’ leads to changes in the spectator’s positioning. Paleo-television is described as an ‘institution’, founded on a project of cultural and popular education. Neo-television breaks with this pedagogical communication model through interactive processes. The article theorises the two models and points towards their intersections.","PeriodicalId":51917,"journal":{"name":"Critical Studies in Television","volume":"13 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2025-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143528381","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-02-12DOI: 10.1177/17496020251320626
Laurena Bernabo
This article provides a critical analysis of the Olivia/Fitz relationship in Scandal, exploring their interactions and the program’s treatment of sexual and relational abuse in the context of the popular feminism in U.S. television. Scandal follows Olivia Pope, a political fixer who solves problems for D.C. elites while navigating a tumultuous personal life including an on-again/off-again affair with Fitzgerald Grant, the U.S. President. Olivia and Fitz join other TV couples that normalize abusive romantic relationships by failing to meaningfully problematize them despite Scandal’s feminist discourses. After reframing their relationship to demonstrate how this abusive relationship illustrates the continuum of sexual violence, I theorize a narrative strategy of “romantic refraction” which narratively privileges a romantic interpretation of this relationship through distinct representational patterns.
{"title":"Scandalous romantic refraction: Reframing rape culture and coercive control on television","authors":"Laurena Bernabo","doi":"10.1177/17496020251320626","DOIUrl":"https://doi.org/10.1177/17496020251320626","url":null,"abstract":"This article provides a critical analysis of the Olivia/Fitz relationship in Scandal, exploring their interactions and the program’s treatment of sexual and relational abuse in the context of the popular feminism in U.S. television. Scandal follows Olivia Pope, a political fixer who solves problems for D.C. elites while navigating a tumultuous personal life including an on-again/off-again affair with Fitzgerald Grant, the U.S. President. Olivia and Fitz join other TV couples that normalize abusive romantic relationships by failing to meaningfully problematize them despite Scandal’s feminist discourses. After reframing their relationship to demonstrate how this abusive relationship illustrates the continuum of sexual violence, I theorize a narrative strategy of “romantic refraction” which narratively privileges a romantic interpretation of this relationship through distinct representational patterns.","PeriodicalId":51917,"journal":{"name":"Critical Studies in Television","volume":"17 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2025-02-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143401199","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-01-29DOI: 10.1177/17496020251316796
Georgia Aitaki
The article explores the impact of the COVID-19 pandemic on the production and narrative strategies of the 90 Day Fiancé franchise, focusing on its spin-off, 90 Day Fiancé: Self-Quarantined (2020). It examines how the programme adapted to mobility restrictions and lockdown policies through self-filming, remote interviewing, and focusing on mundane, pandemic-specific activities. Using theories of reality TV, documentary and authenticity, the study highlights the spin-off’s negotiation of authenticity via transtextuality, place anchoring and boredom. The article contributes to understanding how pandemic-era reality TV embraced flexibility and pragmatism, blending heightened authenticity with performative elements to maintain relatability and audience engagement.
{"title":"Stretching authenticity in times of restricted mobility: Transtextuality, place anchoring, and boredom in romance reality show 90 Day Fiancé: Self-Quarantined","authors":"Georgia Aitaki","doi":"10.1177/17496020251316796","DOIUrl":"https://doi.org/10.1177/17496020251316796","url":null,"abstract":"The article explores the impact of the COVID-19 pandemic on the production and narrative strategies of the 90 Day Fiancé franchise, focusing on its spin-off, 90 Day Fiancé: Self-Quarantined (2020). It examines how the programme adapted to mobility restrictions and lockdown policies through self-filming, remote interviewing, and focusing on mundane, pandemic-specific activities. Using theories of reality TV, documentary and authenticity, the study highlights the spin-off’s negotiation of authenticity via transtextuality, place anchoring and boredom. The article contributes to understanding how pandemic-era reality TV embraced flexibility and pragmatism, blending heightened authenticity with performative elements to maintain relatability and audience engagement.","PeriodicalId":51917,"journal":{"name":"Critical Studies in Television","volume":"121 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2025-01-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143056593","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-12-20DOI: 10.1177/17496020241308763
Catherine Johnson
As viewing shifts from broadcast to streaming, what should be the role for TV studies? Arguing for the need to account for the multi-faceted nature of contemporary television, this provocation proposes an agenda for the future of TV studies. It argues that the technological consequences of shifting to internet-delivered television demand new theorisations of television as software, new digital tools and methods, and audience research that pays more attention to less engaged and unconnected audiences. Such research would ensure that critical policy decisions about the future of television draw on the depth of expertise within TV studies as a discipline.
{"title":"Provocation: An agenda for the future of TV studies: Technology, audiences, stakeholders","authors":"Catherine Johnson","doi":"10.1177/17496020241308763","DOIUrl":"https://doi.org/10.1177/17496020241308763","url":null,"abstract":"As viewing shifts from broadcast to streaming, what should be the role for TV studies? Arguing for the need to account for the multi-faceted nature of contemporary television, this provocation proposes an agenda for the future of TV studies. It argues that the technological consequences of shifting to internet-delivered television demand new theorisations of television as software, new digital tools and methods, and audience research that pays more attention to less engaged and unconnected audiences. Such research would ensure that critical policy decisions about the future of television draw on the depth of expertise within TV studies as a discipline.","PeriodicalId":51917,"journal":{"name":"Critical Studies in Television","volume":"263 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2024-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142869854","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-12-16DOI: 10.1177/17496020241308718
Esther Hamburger, Giancarlo Gozzi, Cecília Mello
In recent years, there has been a growing interest in past television programmes and television memory more broadly, a trend amplified by streaming platforms. This development highlights the critical issue of television archiving and content accessibility. As Brazilian television approaches its 75th anniversary in 2025, this article examines the current state of television archives in Brazil, their accessibility to the general public, and the role of amateur archiving on online platforms. We analyse the public and private dimensions of these archives and, drawing on international examples, advocate for public-private collaborations to expand Brazilian citizenship through equitable access to television archives.
{"title":"Notes on the state of Brazilian television archives: From scattered initiatives to an uncertain future","authors":"Esther Hamburger, Giancarlo Gozzi, Cecília Mello","doi":"10.1177/17496020241308718","DOIUrl":"https://doi.org/10.1177/17496020241308718","url":null,"abstract":"In recent years, there has been a growing interest in past television programmes and television memory more broadly, a trend amplified by streaming platforms. This development highlights the critical issue of television archiving and content accessibility. As Brazilian television approaches its 75th anniversary in 2025, this article examines the current state of television archives in Brazil, their accessibility to the general public, and the role of amateur archiving on online platforms. We analyse the public and private dimensions of these archives and, drawing on international examples, advocate for public-private collaborations to expand Brazilian citizenship through equitable access to television archives.","PeriodicalId":51917,"journal":{"name":"Critical Studies in Television","volume":"12 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2024-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142825425","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-12-13DOI: 10.1177/17496020241304226
Amy Harris
{"title":"Book Review: Rethinking horror in the new economies of television","authors":"Amy Harris","doi":"10.1177/17496020241304226","DOIUrl":"https://doi.org/10.1177/17496020241304226","url":null,"abstract":"","PeriodicalId":51917,"journal":{"name":"Critical Studies in Television","volume":"29 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2024-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142820657","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-12-12DOI: 10.1177/17496020241306224
Su Holmes, Claire Hines
This article draws on data from 18 semi-structured interviews with women which explore their relations with true crime television. Complicating popular and academic arguments that such relations operate pedagogically (that true crime offers a form of ‘safety advice’ for women), the data attests to the participants’ reflexive negotiation of ethics as a frame through which viewing investments are presented, regulated and articulated. Both contributing to and questioning feminist work which has explored the potential ‘reimagining’ of true crime within a post #MeToo context, the data offers insight into how these female viewers negotiate what they see as ‘ethical viewing’ of the genre and its relationship with questions of ‘witnessing’ and responsibility.
{"title":"Female audiences for true crime television: Popular discourse, feminism and the politics of ‘ethical viewing’","authors":"Su Holmes, Claire Hines","doi":"10.1177/17496020241306224","DOIUrl":"https://doi.org/10.1177/17496020241306224","url":null,"abstract":"This article draws on data from 18 semi-structured interviews with women which explore their relations with true crime television. Complicating popular and academic arguments that such relations operate pedagogically (that true crime offers a form of ‘safety advice’ for women), the data attests to the participants’ reflexive negotiation of ethics as a frame through which viewing investments are presented, regulated and articulated. Both contributing to and questioning feminist work which has explored the potential ‘reimagining’ of true crime within a post #MeToo context, the data offers insight into how these female viewers negotiate what they see as ‘ethical viewing’ of the genre and its relationship with questions of ‘witnessing’ and responsibility.","PeriodicalId":51917,"journal":{"name":"Critical Studies in Television","volume":"44 1","pages":""},"PeriodicalIF":1.0,"publicationDate":"2024-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142815612","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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