Classroom Instruments and Carpool Karaoke: Ritual and Collaboration in Late Night’s YouTube Era

2017 ◽  
Vol 18 (7) ◽  
pp. 569-588 ◽  
Author(s):  
Myles McNutt
Keyword(s):  
Talk Show ◽  
Late Night ◽  
Close Analysis ◽  
Online Audiences ◽  
Primary Space

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.”

Remediating the Celebrity Roast: The Place of Mean Tweets on Late-Night Television

2019 ◽  
pp. 152747641989258 ◽  
Author(s):  
Bridget Kies
Keyword(s):  
Social Media ◽  
Careful Study ◽  
Dominant Position ◽  
Talk Show ◽  
Broadcast Media ◽  
Late Night ◽  
Hierarchical Position ◽  
History Of

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.

scholarly journals Can Unscrewed be unskewed? Television coverage of the Internet

First Monday ◽  
2006 ◽  
Author(s):  
Martha McCaughey
Keyword(s):  
Web Sites ◽  
The Internet ◽  
Market Forces ◽  
Talk Show ◽  
The Public ◽  
Cable Network ◽  
Late Night ◽  
Market Driven ◽  
Online Culture ◽  
Television Coverage

This paper documents one way the Internet is presented to the public by analyzing a late–night TV talk show about the Internet called Unscrewed on the TechTV cable network. I gained the opportunity to study Unscrewed, and attempt to influence its focus, when I was invited to appear as a guest on their show after having e–mailed them a criticism of their sexist coverage of the Internet — specifically their positioning of women as pretty objects to be ogled online rather than as creative participants in online culture and as authors of a diversity of Web sites. Though I liked the program’s potential to challenge some aspects of an increasingly market–driven Internet, I was unable to unskew the sexist focus of Unscrewed precisely because market forces demanded the show remain male–centered.

“We should be addressing whiteness less, and affirming blackness more”: Random Acts of Flyness, Afrosurrealism, and Quality Programming

2020 ◽  
Author(s):  
Eric Forthun
Keyword(s):  
American Culture ◽  
Exceptional Case ◽  
Experimental Series ◽  
Historically White ◽  
Talk Show ◽  
Late Night ◽  
Art Forms ◽  
The Media ◽  
Quality Programming

Abstract Premiering on Saturday nights in summer of 2018, the barely-promoted Random Acts of Flyness (RAOF) was buried in HBO’s schedule. The highly experimental series combines many forms, including late night talk show, documentary, claymation, and sketch show, amongst many others. With stylistic techniques such as Afrosurrealism and self-reflexivity alongside discursive tools that heighten the series’ claim to “quality,” I argue that RAOF utilizes its surreal and distinctly black creative production to critically examine representations of blackness and whiteness in the media and American culture. I further contend that, for HBO, independent filmmaker and series creator Terence Nance’s pedigree fits the channel’s long-standing association with “higher” art forms, even as the series does not fit into historically white and affluent notions of “quality.” As the television landscape becomes broader and markers of “quality” become harder to pin down, the series’ incisive look at blackness proves to be an exceptional case study.

The Late Night Radio Talk Show as Interpersonal Communication

1979 ◽  
Vol 56 (1) ◽  
pp. 92-96 ◽  
Author(s):  
Jeffrey Bierig ◽  
John Dimmick
Keyword(s):  
Interpersonal Communication ◽  
Talk Show ◽  
Late Night ◽  
Radio Talk

scholarly journals Hybridization as a Form of Media “Extension”: Stand-up Technologies in Infotainment Discourse (A Case Study of the Jim Jefferies Late Night Talk Show)

2019 ◽  
Vol 18 (6) ◽  
pp. 150-165
Author(s):  
E. Yu. Kunitsyna ◽  
R. I. Pegov
Keyword(s):  
Critical Discourse Analysis ◽  
Salient Feature ◽  
Integrated Approach ◽  
Discursive Practice ◽  
Consumer Society ◽  
Media Discourse ◽  
Talk Show ◽  
Late Night ◽  
The Usa ◽  
Theory Of Discourse

Purpose. The article addresses the issue of media discourse hybridization, the latter being the result of discourse-and-genre transgression and the source of new discursive practices, particularly, infotainment. The growing demands of society for information and the increasing worldwide popularity of humorous programs (especially stand-up comedies) have triggered the emergence of a unique media product – The Jim Jefferies Show. The salient feature of the talk show is that its host and producer is a famous stand-up comedian. Jim Jefferies’ versatile, controversial, belief-challenging and thought-provoking satirical comedy has won him admiration and respect across the USA and abroad. Results. Adopting an interdisciplinary, integrated approach, we explore the problem of media discourse technologization and game-ization. The research is based on the premises of theory of discourse, pragma- and sociolinguistic discourse studies, critical discourse analysis, philosophy of discourse and philosophy of play and games. We argue that incorporating stand-up technologies, also referred to as attractions, into informational discourse brings about a powerful discursive shift and comprehensive hybridization manifested in multiple interdiscursivity (with a variety of types and kinds of discourse involved: informational and entertaining, institutional [status bound] and personal [personality bound], existential and habitual; critical, political, comical; simulative), multiple destination (along with information-offering [news] and entertainment [fun], opinion, critique, subversion, shock) and multiple functions (informational, orientational, that of solidarity vs. agonistic, actional, axiological and “ludenic”). Conclusion. The new discursive practice as an extension of media and man, homo ludens, meets demands and values of the consumer society, agrees with the postmodernist Zeitgeist and reveals a carnivalesque mediachronotope.

Changes in Late-night Talk Show after the Launch of General Programming Channels

CONTENTS PLUS ◽  
2017 ◽  
Vol 15 (2) ◽  
pp. 117-132
Author(s):  
Hye Yoon Jeong ◽  
◽  
Inyong Nam
Keyword(s):  
Talk Show ◽  
Late Night
Sign in / Sign up

Export Citation Format

Share Document