TV formats are sets of transferable ideas, principles, and procedures to produce and remake television programs.2 They “are designed to ‘travel well’ across national boundaries” and are adaptable to various domestic markets.3 While the transnational exchange of TV formats was considered “an Anglophone development,”4 the rapid integration of television production, circulation, and consumption into a global trade system since the 1990s has created many popular global TV formats that have become profitable media franchises and been widely (re)made in different parts of world.5 A case in point is the Dutch reality television franchise Big Brother (Veronica, 1999–) that has been adapted in more than sixty regions worldwide as of August 2021.6 Since the late 1990s, the television industry of the People’s Republic of China has also started to creatively appropriate standardized global media and cultural formulas to produce content compatible with local political-ideological
{"title":"Global TV Formats Queer Contemporary China","authors":"Jamie J. Zhao","doi":"10.1353/cj.2023.0035","DOIUrl":"https://doi.org/10.1353/cj.2023.0035","url":null,"abstract":"TV formats are sets of transferable ideas, principles, and procedures to produce and remake television programs.2 They “are designed to ‘travel well’ across national boundaries” and are adaptable to various domestic markets.3 While the transnational exchange of TV formats was considered “an Anglophone development,”4 the rapid integration of television production, circulation, and consumption into a global trade system since the 1990s has created many popular global TV formats that have become profitable media franchises and been widely (re)made in different parts of world.5 A case in point is the Dutch reality television franchise Big Brother (Veronica, 1999–) that has been adapted in more than sixty regions worldwide as of August 2021.6 Since the late 1990s, the television industry of the People’s Republic of China has also started to creatively appropriate standardized global media and cultural formulas to produce content compatible with local political-ideological","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86006104","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}
Over the past twenty years, documentary film and television have become far more popular and widely available than in previous decades. Yet the scholarship on documentary has tended to privilege the most formally inventive and politically radical documentary films, from Chronique d’un été (Chronicle of a Summer, Jean Rouch and Edgar Morin, 1961) to Tongues Untied (Marlon T. Riggs, 1989) and The Act of Killing (Joshua Oppenheimer, 2012). Noël Carroll pointed out this tendency to focus on the “art-documentary” in 1996, and the trend has continued.1 It is easy to dismiss popular documentaries, from fawning celebrity portraits to protracted true-crime miniseries, but doing so leaves a vital area of film and media understudied at the very moment when audiences are viewing and engaging with documentary media more than ever before. Reclaiming Popular Documentary is an excellent start to correcting this oversight. Edited by Christie Milliken and Steve F. Anderson, the volume contains invigorating contributions that cover a wide swath of documentary media. In the introduction, Milliken and Anderson ask, “What is the relationship between documentary and entertainment and between popular documentary and advocacy? Can popular documentary be productively reconceived in relation to genre, modes, or rhetorical forms? Assuming the
{"title":"Reclaiming Popular Documentary ed. by Christie Milliken and Steve F. Anderson (review)","authors":"Nora Stone","doi":"10.1353/cj.2023.0041","DOIUrl":"https://doi.org/10.1353/cj.2023.0041","url":null,"abstract":"Over the past twenty years, documentary film and television have become far more popular and widely available than in previous decades. Yet the scholarship on documentary has tended to privilege the most formally inventive and politically radical documentary films, from Chronique d’un été (Chronicle of a Summer, Jean Rouch and Edgar Morin, 1961) to Tongues Untied (Marlon T. Riggs, 1989) and The Act of Killing (Joshua Oppenheimer, 2012). Noël Carroll pointed out this tendency to focus on the “art-documentary” in 1996, and the trend has continued.1 It is easy to dismiss popular documentaries, from fawning celebrity portraits to protracted true-crime miniseries, but doing so leaves a vital area of film and media understudied at the very moment when audiences are viewing and engaging with documentary media more than ever before. Reclaiming Popular Documentary is an excellent start to correcting this oversight. Edited by Christie Milliken and Steve F. Anderson, the volume contains invigorating contributions that cover a wide swath of documentary media. In the introduction, Milliken and Anderson ask, “What is the relationship between documentary and entertainment and between popular documentary and advocacy? Can popular documentary be productively reconceived in relation to genre, modes, or rhetorical forms? Assuming the","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83711605","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}
Kam Copeland is a PhD candidate in Cinema and Media Studies at the University of Southern California and Dissertation Fellow in African and African Diaspora Studies at Boston College. Currently, he is writing his dissertation, “Muhammad Gazes: Islam, Blackness, and Resistance Cinema in the US,” a representational history of Black American Muslims in cinema. This project also explores how Black Muslims have developed alternative gazes and liberatory cinematic practices to resist dominant framings of Muslimness in US media.
{"title":"Spotlight: Kam Copeland","authors":"Treaandrea M. Russworm","doi":"10.1353/cj.2023.0023","DOIUrl":"https://doi.org/10.1353/cj.2023.0023","url":null,"abstract":"Kam Copeland is a PhD candidate in Cinema and Media Studies at the University of Southern California and Dissertation Fellow in African and African Diaspora Studies at Boston College. Currently, he is writing his dissertation, “Muhammad Gazes: Islam, Blackness, and Resistance Cinema in the US,” a representational history of Black American Muslims in cinema. This project also explores how Black Muslims have developed alternative gazes and liberatory cinematic practices to resist dominant framings of Muslimness in US media.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86099627","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}
ABSTRACT:This article takes up K-pop's online fandoms as sites of racial work and resistance in the digital era. Examining the #BlackOutBTS selfie project on Twitter, a project created by and for Black fans of Korean group BTS to combat online racism, I argue these fans intervene meaningfully into anti-Black optic regimes through creative acts of self-display. In turn, their productions frame the selfie as a dynamic, rather than static, digital genre. Its capacity for editing, manipulation, and image play—its merging of photography with performance—makes the selfie an effective site for a minoritarian (re)presentation of the racialized subject.
{"title":"#BlackOutBTS: Race and Self(ie)-Display in Digital Fandom","authors":"Andrea Acosta","doi":"10.1353/cj.2023.0024","DOIUrl":"https://doi.org/10.1353/cj.2023.0024","url":null,"abstract":"ABSTRACT:This article takes up K-pop's online fandoms as sites of racial work and resistance in the digital era. Examining the #BlackOutBTS selfie project on Twitter, a project created by and for Black fans of Korean group BTS to combat online racism, I argue these fans intervene meaningfully into anti-Black optic regimes through creative acts of self-display. In turn, their productions frame the selfie as a dynamic, rather than static, digital genre. Its capacity for editing, manipulation, and image play—its merging of photography with performance—makes the selfie an effective site for a minoritarian (re)presentation of the racialized subject.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89946137","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}
ABSTRACT:Virtual reality (VR) became a cultural fixture in the 1980s, when advances in computing inspired a general belief in VR's revolutionary potential. To support this belief, VR enthusiasts at that time also constructed an imagined history. This article examines VR's historiography through one of its most enduring myths: that filmmaker and inventor Morton Heilig developed analog VR in the 1950s but never received public recognition because few understood his vision. I argue that this narrative of Heilig as VR's forgotten prophet functioned to justify the putatively revolutionary project of VR and to legitimize the VR community that was promoting it.
{"title":"The Ballad of Morton Heilig: On VR's Mythic Past","authors":"Nicholaus Gutierrez","doi":"10.1353/cj.2023.0027","DOIUrl":"https://doi.org/10.1353/cj.2023.0027","url":null,"abstract":"ABSTRACT:Virtual reality (VR) became a cultural fixture in the 1980s, when advances in computing inspired a general belief in VR's revolutionary potential. To support this belief, VR enthusiasts at that time also constructed an imagined history. This article examines VR's historiography through one of its most enduring myths: that filmmaker and inventor Morton Heilig developed analog VR in the 1950s but never received public recognition because few understood his vision. I argue that this narrative of Heilig as VR's forgotten prophet functioned to justify the putatively revolutionary project of VR and to legitimize the VR community that was promoting it.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86107484","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}
Despite the shrinking space for independent cinema during the COVID-19 pandemic, several queer Korean films have found screening opportunities in both local and global over-the-top (OTT) video streaming services, including Netflix, Wavve, Watcha, and GagaOOLala. Following the favorable reception of Ke zai ni xindi de mingzi (Your Name Engraved Herein, Liu Kuang-Hui, 2020), global OTT video streaming services included more queer Asian contents, many of which are Boys’ Love (BL) films and dramas. Numerous queer Korean films and TV shows also achieved commercial success during the pandemic. The popularity of Shimaent’ik erŏ (Semantic Error, Kim Soo-jung, 2022), Watcha’s first original series, offers a particularly compelling example of the reciprocal relations between queer digital media and OTT streaming platforms, as the series not only formed a huge fandom but also helped the OTT company’s market share in South Korea.1 The optimism around the OTT streaming services that include more and more queer content evokes the memory of the optimistic outlook in the early twenty-first century, when digital formats outmoded conventional celluloid film. Indeed, the increasing prevalence of digital technology has
在新冠肺炎疫情期间，独立影院的空间不断缩小，但韩国酷儿电影在Netflix、Wavve、Watcha、GagaOOLala等国内和全球OTT视频流媒体服务中都找到了放映机会。随着《你的名字刻在这里》(刘光辉，2020)的热映，全球OTT视频流媒体服务加入了更多的亚洲酷儿内容，其中许多是男孩之恋(BL)电影和电视剧。许多韩国酷儿电影和电视剧也在疫情期间取得了商业上的成功。Watcha的第一部原创剧集《语义错误》(Semantic Error, Kim Soo-jung, 2022)的流行，为酷儿数字媒体和OTT流媒体平台之间的相互关系提供了一个特别引人注目的例子。因为该系列不仅形成了庞大的粉丝群，而且还帮助OTT公司在韩国占据了市场份额。1围绕OTT流媒体服务的乐观情绪，包括越来越多的酷儿内容，让人想起了21世纪初数字格式取代传统赛璐珞电影的乐观前景。事实上，数字技术的日益普及
{"title":"Cruising the Art Museum: On the Migration of Queer Experimental Cinema in South Korea","authors":"U-sang Kim","doi":"10.1353/cj.2023.0036","DOIUrl":"https://doi.org/10.1353/cj.2023.0036","url":null,"abstract":"Despite the shrinking space for independent cinema during the COVID-19 pandemic, several queer Korean films have found screening opportunities in both local and global over-the-top (OTT) video streaming services, including Netflix, Wavve, Watcha, and GagaOOLala. Following the favorable reception of Ke zai ni xindi de mingzi (Your Name Engraved Herein, Liu Kuang-Hui, 2020), global OTT video streaming services included more queer Asian contents, many of which are Boys’ Love (BL) films and dramas. Numerous queer Korean films and TV shows also achieved commercial success during the pandemic. The popularity of Shimaent’ik erŏ (Semantic Error, Kim Soo-jung, 2022), Watcha’s first original series, offers a particularly compelling example of the reciprocal relations between queer digital media and OTT streaming platforms, as the series not only formed a huge fandom but also helped the OTT company’s market share in South Korea.1 The optimism around the OTT streaming services that include more and more queer content evokes the memory of the optimistic outlook in the early twenty-first century, when digital formats outmoded conventional celluloid film. Indeed, the increasing prevalence of digital technology has","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75230464","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}
In March 2022, in the midst of a fifth wave of the COVID-19 pandemic in Hong Kong that generated more than 10,000 new cases per day, two colleagues invited me to take a short weekend trip to Tai O, a fishing village located on the western side of Lantau Island. At first, I was not very excited about the trip: I had already been to Tai O several times, and in recent years the fishing village has been overtaken by tourists. It’s just another village that is commodified for its traditional and exotic appeal, I thought. My colleagues soon proved me wrong by taking us on a hiking trail that overlooks the Hong Kong-Zhuhai-Macau Bridge. While pleasantly rejuvenated by the breathtaking view, I was also struck by how regionally integrated Hong Kong is with the rest of mainland China within the spatial imaginary of the Guangdong-Hong Kong-Macao Greater Bay Area. After the hike, we decided to take a rest at a local café. Our server was a talkative, middle-aged, sporty-looking woman who gave off queer vibes. Once she found out that one colleague was from Taiwan, she shared her own experiences of working in Taipei and how much she missed Taiwan. On our way out, I spotted a postcard of Anson Lo and Edan Lui, the protagonists of the latest hit Boys’ Love (BL) television series Ossan’s Love (ViuTV, 2021), which is adapted from the highly successful 2018 Japanese BL television drama of the same name. As we passed by the Tai O Heritage Hotel, another lesbian butch-femme couple passed us by. I halfjokingly told my friends, “Tai O is becoming a gay Mecca of Hong Kong!” I recount my trip to Tai O to focus three ideas that might not appear related to one another at first glance: queer media, the Sinophone, and
{"title":"Queer Sinophone Media across Asian Regionalism","authors":"A. Wong","doi":"10.1353/cj.2023.0031","DOIUrl":"https://doi.org/10.1353/cj.2023.0031","url":null,"abstract":"In March 2022, in the midst of a fifth wave of the COVID-19 pandemic in Hong Kong that generated more than 10,000 new cases per day, two colleagues invited me to take a short weekend trip to Tai O, a fishing village located on the western side of Lantau Island. At first, I was not very excited about the trip: I had already been to Tai O several times, and in recent years the fishing village has been overtaken by tourists. It’s just another village that is commodified for its traditional and exotic appeal, I thought. My colleagues soon proved me wrong by taking us on a hiking trail that overlooks the Hong Kong-Zhuhai-Macau Bridge. While pleasantly rejuvenated by the breathtaking view, I was also struck by how regionally integrated Hong Kong is with the rest of mainland China within the spatial imaginary of the Guangdong-Hong Kong-Macao Greater Bay Area. After the hike, we decided to take a rest at a local café. Our server was a talkative, middle-aged, sporty-looking woman who gave off queer vibes. Once she found out that one colleague was from Taiwan, she shared her own experiences of working in Taipei and how much she missed Taiwan. On our way out, I spotted a postcard of Anson Lo and Edan Lui, the protagonists of the latest hit Boys’ Love (BL) television series Ossan’s Love (ViuTV, 2021), which is adapted from the highly successful 2018 Japanese BL television drama of the same name. As we passed by the Tai O Heritage Hotel, another lesbian butch-femme couple passed us by. I halfjokingly told my friends, “Tai O is becoming a gay Mecca of Hong Kong!” I recount my trip to Tai O to focus three ideas that might not appear related to one another at first glance: queer media, the Sinophone, and","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82938703","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}
{"title":"A Happy Farewell","authors":"Jcms","doi":"10.1353/cj.2023.0021","DOIUrl":"https://doi.org/10.1353/cj.2023.0021","url":null,"abstract":"","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75461017","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}
ABSTRACT:From the 1980s on, topographies of the city and country emerged in the Korean cinematic imagination as reactions to Seoul's hypermodernity. Scenes of resting in an idyllic countryside and in rooms hidden within the city often depict eating, indexing a global media trend of linking identity to place. Today, television, film, and digital media are streamed into tablets, and these images affect virtual togetherness in a Korean "mobile nation," an online community of domestic and international viewers consuming "Korea(n food)" together, interstitially. Evocative foodscapes conjure affects of belonging as consumers engage in timed chats and upload content.
{"title":"Consuming the Korean Mobile Nation: Seoul, Dislocation, and the Search for Belonging in (Food) Media","authors":"Ellie Choi","doi":"10.1353/cj.2023.0025","DOIUrl":"https://doi.org/10.1353/cj.2023.0025","url":null,"abstract":"ABSTRACT:From the 1980s on, topographies of the city and country emerged in the Korean cinematic imagination as reactions to Seoul's hypermodernity. Scenes of resting in an idyllic countryside and in rooms hidden within the city often depict eating, indexing a global media trend of linking identity to place. Today, television, film, and digital media are streamed into tablets, and these images affect virtual togetherness in a Korean \"mobile nation,\" an online community of domestic and international viewers consuming \"Korea(n food)\" together, interstitially. Evocative foodscapes conjure affects of belonging as consumers engage in timed chats and upload content.","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84711124","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}
J. Roskos, Yulia Gilich, David Kocik, H. Nassiri, Vuk Vuković
{"title":"Spotlight: Graduate Student Organization","authors":"J. Roskos, Yulia Gilich, David Kocik, H. Nassiri, Vuk Vuković","doi":"10.1353/cj.2023.0022","DOIUrl":"https://doi.org/10.1353/cj.2023.0022","url":null,"abstract":"","PeriodicalId":55936,"journal":{"name":"JCMS-Journal of Cinema and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82781899","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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