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May 2009, Week 3

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Greetings,

We want to let you know that the new issue of Flow: A Critical Forum  
on Television and Media Culture is available at http://flowtv.org.

This issue features columns from Yeidy Rivero, Trisha Dunleavy, Drew  
Morton, Jane Feuer, and Peter Lehmen and Susan Hunt.

This issue's columns in brief:

"Carla?s, Callie?s, and the Suárez?s Long Lost Ancestors: ESAA-TV and  
¿Qué pasa U.S.A.?" by Yeidy Rivero (http://flowtv.org/?p=3902):
An examination of the Emergency School Aid Act and one of its media  
?children,? ¿Qué pasa U.S.A.?.

"Public Television in a Small Country: the New Zealand ?Experiment? 20  
Years On" by Trisha Dunleavy (http://flowtv.org/?p=3889):
A reassessment of New Zealand?s public service television experiment  
on the twentieth anniversary of its implementation.

"Observe and Report What?" by Peter Lehman and Susan Hunt  
(http://flowtv.org/?p=3883):
A consideration of masculinity, perversity and the spectacle of the  
penis in the new Jody Hill film Observe and Report.

"Interactivity and Awkward Comedy: It's Always Sunny in Philadelphia  
Live!" by Drew Morton (http://flowtv.org/?p=3900):
An examination of live television and the spectrum of audience interactivity.

"Being in treatment on TV" by Jane Feuer (http://flowtv.org/?p=3891):
An exploration of the psychotherapy sessions of HBO's In Treatment.



Interested in supporting Flow? Click HERE (http://flowtv.org/?page_id=2143).

FlowTV is now on Twitter! Follow Flow's Twitter page at:
http://twitter.com/flowtv.

Finally, we want to let you know about our new call for submissions.  
You can read the CFP below or check it out online at  
http://flowtv.org/?page_id=25.



We look forward to your visit and encourage your comments.

Best wishes,

Flow Editorial Staff



Current Call for Papers: U.S. Television Adaptations: Programming in a  
Globalized Media Environment

In addition to well-established adaptations like The Office, Ugly  
Betty, and American Idol, this season saw an influx of adapted  
programming filling slots on network lineups: Kath and Kim, Life on  
Mars, Worst Week, etc. While not a new phenomenon, this trend raises  
important questions about the American television landscape, the shape  
of the industry, and reception differences across programs. How do  
differences in cultural and industrial standards lead to alterations  
of style, content, and structure? Why are certain adaptations more  
successful than others? Does genre play a role in success? What  
industrial motivations lead networks to continue adapting shows  
despite seeing many resulting flops? How does this fit in with  
increasingly transnational production practices? With the advent of  
new media, audiences for the first time have easy access to both the  
original and adapted versions of a show; how does this impact  
reception, marketing, and success? Are adaptations an example of  
cross-pollination or do these practices merely contribute to U.S.  
cultural imperialism?

Submissions might focus on particular shows or on issues significant  
to the status or condition of contemporary adaptations (industrial  
practices, reception, texts, and cultural effects and implications).  
We also welcome historical studies of adaptations (e.g. All in the  
Family, Three?s Company,) as well as discussion about upcoming imports  
(e.g. Absolutely Fabulous, No Heroics).

Please send submissions of between 1000-1500 words to Special Features  
Editor Alex Cho. Submissions should be in .doc format, with the title  
and author?s name clearly indicated on the file. Flow has a  
longstanding policy of encouraging non-jargony, highly readable pieces  
and ample incorporation of images and video.

----
Learn to speak like a film/TV professor! Listen to the ScreenLex
podcast:
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