This conversation among Bertha Chin, Bethan Jones, Myles McNutt, and Luke Pebler about the Veronica Mars (2004–7) Kickstarter campaign to fund a film assesses the implications of crowd sourcing and fan labor.
This article analyzes paratextual strategies deployed by Taylor Swift in her transition from country to pop in the context of her articulation of her authorship as a female songwriter. This was a transition complicated by the gendered hierarchies of pop music, wherein male producers carry significant discursive weight. The article frames the “Voice Memos” included with her 2014 album 1989 as a form of paratextual feminism, reiterating the authenticity she developed as a country star and pushing back against claims her collaboration with male producers like Max Martin and Ryan Tedder threaten her autonomy as a female voice in the music industry. However, the article goes on to consider how these and other paratextual feminisms are inherently tied to neoliberal values of post-feminism, demonstrating that their potential as a gendered critique of the media industries is limited by the lack of actualization within Swift’s broader star text and industry practice.
This article explores the deeper meanings within social media criticism of NBC’s coverage of the London 2012 Olympic Games, focusing on the divide between those social media users and what NBC perceives as their audience for primetime, tape-delayed broadcasts. While viewer frustration
has been dismissed as a selfish desire for instant gratification in an era of conspicuous consumption, it also demonstrates the complicated relationship between NBC’s broadcasting strategies and liveness, which creates concerns over access. Similarly, although viewer frustration has
been positioned in opposition to the economic imperative of commercial broadcasting, it seems necessary to engage with the notion of the public interest in the light of NBC’s broadcast history and the nationalized appeal of the Olympic Games. In their rush to characterize #NBCFail as
evidence of Twitter’s mob mentality, analysts fail to ask what this backlash might mean for the Olympics’ place within the larger spectrum of broadcast programming in the post-network era, and for NBC’s responsibility to viewers when it comes to this global event (and broadcasting
in general).
This article addresses the spatial challenges facing television laborers amid an increasingly expansive and contingent environment of local production incentives. Pushing away from the term runaway production and its limited engagement with local, spatialized dynamics of labor, I argue for a consideration of "mobile production," wherein television series are capable of being executed in an increasingly wide range of locations-not necessarily Los Angeles-and capable of being moved should changes in an incentive system create the need to do so. Through personal interviews and analysis of industry discourse, this case study of location professionals considers how the mobility of production affects below-the-line local laborers. Mobile production relies on location workers more than any other job category, but the capacities of these workers are geographically specific: while they make the globalized mobile production apparatus viable, they are also the most likely to be left behind if incentive structures shift and Hollywood producers "go mobile" and move on.
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