The Late Night Radio Talk Show as Interpersonal Communication

1979 ◽  
Vol 56 (1) ◽  
pp. 92-96 ◽  
Author(s):  
Jeffrey Bierig ◽  
John Dimmick
2017 ◽  
Vol 18 (7) ◽  
pp. 569-588 ◽  
Author(s):  
Myles McNutt

This article uses two recurring late-night talk show segments, “Classroom Instruments” (NBC’s The Tonight Show Starring Jimmy Fallon) and “Carpool Karaoke” (CBS’s The Late Late Show with James Corden), to explore how programming strategies are changing in response to late night’s adoption of YouTube as a distribution platform. Through close analysis of these segments, the series’ YouTube presences, and industry perspective, the article explores how late night’s digital turn has embraced historical qualities of late-night programming that have proven compatible with YouTube as a platform, with these segments prioritizing collaboration common in the YouTube community at large. It goes on to analyze how this content is being “re-ritualized” for online audiences, disconnecting the segments from their linear broadcast context and reframing them for nonlinear audiences in light of this once secondary space of distribution increasingly becoming the primary space of consumption in late-night talk’s “YouTube era.”


2019 ◽  
pp. 152747641989258 ◽  
Author(s):  
Bridget Kies

This article uses the “Celebrities Read Mean Tweets” segment on late-night talk show Jimmy Kimmel Live! as a case study in how television can remediate social media to maintain its dominant position in entertainment. The incorporation of tweets into television appears to demonstrate the power social media has over broadcast media, but a careful study reveals that television and film celebrities use television appearances to denounce “mean tweets” as an example of frenzied and cacophonous social media. Drawing on the history of the televised celebrity roast, I argue that contemporary roasts resemble Internet trolling while segments like “Celebrities Read Mean Tweets” embody the spirit of historical roasts by granting celebrities the opportunity to laugh at jokes about themselves. Thus, the segment reiterates the hierarchical position of “old media”: television as a source of comfort and clarity, and the Hollywood celebrity as the epicenter of culture.


Author(s):  
Mark J. Bruhn

This chapter proposes a systems-theoretic adjustment to conceptual blending theory with respect to the so-called generic space. In creative conceptualization, the generic space is not an optional by-product of conceptual mappings across previously and otherwise constituted input spaces, but rather their effective cause, and not by selecting for them but by massively constraining against anything not them. As a first approximation of the blend’s targeted or intended meaning, the generic space functions as an indispensable “proto-blend” that sets the parameters and satisfaction conditions for the resulting conceptual network. This underappreciated point is elaborated through case studies of three well-known and increasingly complex creative blends: a sentence-level metaphor (“This surgeon is a butcher!”), an extemporaneous discourse exchange (from the live radio talk show “Loveline”), and a highly iconic lyric poem (Richard Wilbur’s “Piazza di Spagna, Early Morning”).


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