Serializing accumulation: Resident Evil and the synchronization of Hollywood cinema and Japanese television

2020 ◽  
pp. 135485652098375
Author(s):  
Daniel Johnson
Keyword(s):  
Media Production ◽  
Media Consumption ◽  
Global Media ◽  
Hollywood Cinema ◽  
Screen Media ◽  
Mode Of Presentation ◽  
Japanese Television

How does the tendency toward series reboots, sequels, and remakes in contemporary Hollywood intersect with television’s capacity for serialization? How does the logic of promotion in transmedia entertainment connect to television’s ability to perform simultaneity in relation to other forms of screen media? This article will describe and analyze how the Resident Evil films have been broadcast on Japan’s Asahi TV network throughout the 2010s, focusing on how the week-after-week programming of the films acts as a case for demonstrating how transmedia serialization brings into relief qualities of narration and aesthetics within the context of convergent screen industries and global media production. Focusing on the concept of accumulation, this article will argue how the mode of viewing invited by Asahi TV’s mode of presentation is one that can be addressed both in terms of how viewers make sense of complicated networks of meta-textual continuity and of how convergent media forms rely on practices of simultaneity in media consumption.

Fansubbing and Abuse: Anime and Beyond

2017 ◽  
Author(s):  
Tessa Dwyer
Keyword(s):  
New Technologies ◽  
Professional Services ◽  
Ethical Standards ◽  
Cultural Participation ◽  
Global Media ◽  
Screen Media ◽  
Translation Practice ◽  
Lead Users

This chapter focuses on the emergent, participatory practice of fansubbing (‘fan subtitling’), examining its origins within anime subculture and its ongoing evolution. Fansubbing is examined as an informal translation practice that emerged as a subset of media piracy with its own ethical standards and rules of conduct. Much early anime fansubbing focused on redressing the domesticating tendencies of professional services, and in this sense highlighted the gatekeeping, controlling function of translation. Hence, this case study further demonstrates links between piracy, censorship and subversion introduced in the previous chapter. It also demonstrates how fansubbing’s intervention into screen media points to the growing significance of translation as a mode of cultural participation responsive to the intensifying multilingualism of global media and technologies. Fans are discussed as ‘lead-users’ of new technologies that trial functionality and uncover emergent uses, demands and desires along the way—exemplifying the increasingly active and unruly ways in which people currently consume and engage with media. Proposing that fansubbing’s communal, errant tendencies are vital to its re-evaluative function, this chapter identifies a point of difference between the reconceptual program of this book and the notion of ‘abusive subtitling’ (Nornes 1999).

Lost spectacle: Media consumption by Kashmiri youth in the absence of cinema halls

2020 ◽  
Vol 11 (1) ◽  
pp. 147-161 ◽  
Author(s):  
Gowhar Farooq
Keyword(s):  
The State ◽  
Media Culture ◽  
The Internet ◽  
Media Consumption ◽  
Compact Disk ◽  
Global Media ◽  
Cable Tv ◽  
Childhood And Youth ◽  
The Media ◽  
Compact Disks

Hardline militants forced the cinema halls in Kashmir into closure in 1989. As heavy militarization ensued, several spaces, including cinema halls, were transformed into structures where people, especially young men, were detained and tortured by soldiers and militia. The generations born after the 1980s, therefore, grew up in a cinema-less, militarized world. In the absence of functional cinema halls, they, for years, relied on the state broadcaster for movies and media. Later – although under tremendous threat from extremists – a network of local cable TV operators, who functioned without licences, provided some succour. They were followed by pirate video-cassette and compact-disk parlours that provided people with a means to stay connected to movie culture. And, while the scene changed with the arrival of satellite TV, computers and later the internet, which connected the youth of the region to the larger global media culture, the absence of cinema persists. This article aims to explore how youth, born after the 1980s, associate with cinema halls of Kashmir and what the loss of the cinema viewing culture means to them. To this end, I intend to look into cinema culture before the 1990s and the politics around the closure of cinema halls. The article will also put into perspective the arrival of satellite TV and the circulation of pirated video cassettes, compact disks and videos of the funerals of rebels that were filmed and circulated by rental shops. These practices and processes, which shaped the childhood and youth of several generations in Kashmir, offer insights into the media consumption and the role the state and its apparatuses have in shaping the youth in a conflict-ridden and militarized region of the Global South.

scholarly journals Who are the fairest? ethnic segmentation in London's media production

2007 ◽  
Vol 1 (1) ◽  
Author(s):  
Ashika Thanki ◽  
Steve Jefferys
Keyword(s):  
Ethnic Minority ◽  
Ethnic Minorities ◽  
Stable Process ◽  
Institutional Racism ◽  
Media Production ◽  
Power Imbalance ◽  
Global Media ◽  
Production Sector ◽  
Elite Formation

London is a global media city where over 30 per cent of the workforce is from black and ethnic minorities. Yet only seven per cent of those in media production come from these minorities, and they are concentrated in lower level and non-mainstream jobs. The authors argue that the anachronistic survival of institutional racism is not simply about the survival of a discriminatory ‘monoculture’. While racism is enabled by the major casualisation of the industry, it is also functional, helping to defend a stable process of elite formation and defence in a key area of capitalist ideological production. This racism is about power and the authors' research into why ethnic minority professionals quit London's media production sector also explains how this power imbalance deters resistance.

Dewesternizing Precarity in Turkish TV Drama Production through the Body and the Law

2021 ◽  
pp. 152747642110439
Author(s):  
Ergin Bulut
Keyword(s):  
Workplace Safety ◽  
The State ◽  
Creative Industries ◽  
The Body ◽  
Media Production ◽  
Ethnographic Research ◽  
Media Industry ◽  
Global Media ◽  
Workplace Accidents ◽  
Creative Workers

Beneath Turkish TV dramas’ global glamor lie workplace accidents, systemic injuries on workers’ bodies, and deaths. In response, workers seek to impose restraints on what can be done to their bodies by resorting to law and evoking ideals of equality as they struggle for workplace safety, healthcare, and dignity. Drawing on ethnographic research across production sets, industry summits, union meetings and more than fifty interviews since 2015, this article documents drama workers’ bodily vulnerabilities, arguing that precarity in this global media industry is a bodily phenomenon legally sanctioned by the state. I dewesternize the notion of precarity in creative industries by foregrounding the materiality of the body and the regulative power of law as centers of exploitation and resistance. Critical scholars of media production could learn from non-Western contexts in identifying how creative workers do not only demand stable incomes but also legal recognition and protection of their bodies.

Peer effects on youth screen media consumption in Catalonia (Spain)

2012 ◽  
Vol 37 (2) ◽  
pp. 185-201 ◽  
Author(s):  
Josep-Oriol Escardíbul ◽  
Toni Mora ◽  
Anna Villarroya
Keyword(s):  
Peer Effects ◽  
Media Consumption ◽  
Screen Media
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