A new issue of *Flow* is live!
The journal is proud to announce the publication of issue 26.04. We are
excited to have contributions from authors Laurel Westrup, Jennifer
Hessler, Danielle Williams, Taylor Cole Miller, Kit Hughes, Ryan Stoldt,
and Katherine E. Morrissey. Please see below for more details about the
authors' respective columns.
As always, be sure to join the conversation at www.flowjournal.org or on
Twitter using #FlowJournal26 <https://twitter.com/hashtag/FlowJournal26>.
Laurel Westrup, "Synchronizing Creatives in Music Video Production"
<https://www.flowjournal.org/2020/02/music-video-production/> // Laurel
Westrup examines the partnerships and production constraints of various
music videos to illustrate its collaborative creative labor.
Jennifer Hessler, "The Reflexivity of Rigged Ratings: Nielsen in Our
Jennifer Hessler discusses how television’s recurring trope of rigged
ratings has shaped our cultural memory of Nielsen.
Danielle Williams, "Mr. Sandler Goes to Netflix"
<https://www.flowjournal.org/2020/02/sandler-netflix/> // According to
Netflix, Adam Sandler dominated the platform in 2019. Danielle Williams
breaks down his success by looking at the numbers.
Taylor Cole Miller, "Syndication 202: Make Reruns Great Again"
<https://www.flowjournal.org/2020/02/syndication-202/> // The second
installment of his three-part series sees Taylor Miller consider the
implications of edits made to syndicated TV programs on their textuality
Kit Hughes, "Kids and Cable: Teaching Regulatory Circumvention"
<https://www.flowjournal.org/2020/02/kids-and-cable/> // Kit Hughes
explores the cable industry’s dual missions to uphold quality programming
for children while pushing for deregulation.
Ryan Stoldt, "Interactive Television as a Cultural Forum: Storytelling and
Meaning-Making in Black Mirror: Bandersnatch"
Interrogating audiences’ ability to share ideological interpretations of
interactive texts, Ryan Stoldt argues people’s cultural tastes impact the
range of questions they will encounter through interactive texts.
Katherine E. Morrissey, "From Crazy Rich Asians to Netflix: The 'Rebirth'
of Romantic Comedies, pt. 2"
Katherine E. Morrissey explores how the recent successes (and failures) of
Crazy Rich Asians and To All The Boys I’ve Loved Before illustrate two
emerging distribution strategies for rom-coms within the increasingly
global media market.
*Flow* is a critical forum on media and culture published by the Department
of Radio, Television, and Film <http://rtf.utexas.edu/> at the University
of Texas at Austin <http://www.utexas.edu/>. *Flow*'s mission is to provide
a space where scholars and the public can discuss media histories, media
studies, and the changing landscape of contemporary media.
For more information:
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