scholarly journals “Binge-Watching”: The New Way of Watching TV Series

2018 ◽  
pp. 15
Author(s):  
Srđan Krstić
Keyword(s):  
Social Networks ◽  
Media Studies ◽  
Media Theory ◽  
Television Series ◽  
Research Article ◽  
Central Hypothesis ◽  
Tv Shows ◽  
Watching Tv ◽  
Tv Show

In this paper I deal with the concept of the binge-watching of television series episodes. The word binge means a period of excessive indulgence in an activity. Particularly, in terms of media theory, it becomes synonymous with obsessive, marathon watching of TV shows and movies through streaming television. The central hypothesis is that binge-watching goes beyond what has for previous decades been considered a generally accepted way of watching TV content. In order to better understand this notion, it is also necessary to explain the importance of non-linear television and its distinction in relation to ‘traditional’ or linear television. I will pay special attention to social networks as an indispensable factor that completes the binge-watching experience. Social networks are also involved in the peripheral specifics of binge-watching that lead to the emergence of new occupations, which are in direct correlation with the desire of viewers to be informed about their favorite TV content. I also performed a case study of the TV show Pretty Little Liars (PLL). This show had strong effect on connecting creators with viewers through social networks. As a relatively new phenomenon, binge-watching has the potential to soon become an interesting subject of research. Article received: March 27, 2018; Article accepted: May 10, 2018; Published online: October 15, 2018; Original scholarly paperHow to cite this article: Krstić, Srđan. "'Binge-Watching': The New Way of Watching TV Series." AM Journal of Art and Media Studies 17 (2018): 15−23. doi: 10.25038/am.v0i17.266 

Transgender idol: Queer subjectivities and Australian reality TV

2016 ◽  
Vol 20 (1) ◽  
pp. 87-103 ◽  
Author(s):  
Joanna McIntyre
Keyword(s):  
United States ◽  
Minority Groups ◽  
The United States ◽  
Reality Tv ◽  
Normative Framework ◽  
Cross Pollination ◽  
Tv Shows ◽  
Tv Show

Transgender is a marginalised category to which reality TV has given visibility, yet it is usually overlooked in observations regarding the minority groups that have gained mainstream representation through these programmes. Popular Australian reality TV shows have provided a unique space for the constructive representation of certain queer subjectivities. The Australian reality TV contestants in question present gendering that embraces ambiguity, that is, they demonstrate the deliberate disruption and blurring of gender/sex category divisions. This article examines the ways in which Australian reality TV’s representations of transgender contestants remain robustly queer while also being negotiated and made palatable for ‘family’ television audiences. It asserts the reality TV shows that feature transgender performance orchestrate a balance between queer expression and its containment. This article also takes as a case study a particularly successful Australian transgender reality TV contestant, Courtney Act. It argues Act’s representation of queerness was ‘managed’ within the normative framework of mainstream television yet she is still significantly troubled by gender binaries during her time on Australian screen. In 2014, she appeared as a contestant on the United States’ queer-themed reality TV show RuPaul’s Drag Race and again proved to be a reality TV success. This transnational intersection of transgender performance signalled the productive possibilities of international cross-pollination in regard to affirmative reality TV representations of marginalised subjectivities. At the same time, however, it also revealed the localised nature of reality TV, even in those shows with an international queer appeal.

scholarly journals Diseñando una recepción participativa para universos transmedia: roles y desafíos

2017 ◽  
pp. 21
Author(s):  
Javier Hernández Ruiz
Keyword(s):  
Social Networks ◽  
New Media ◽  
Media Studies ◽  
Redes Sociales ◽  
Modus Operandi ◽  
Transmedia Storytelling ◽  
New Media Studies

Desde una perspectiva que complementa la experiencia como creador de su autor y las aproximaciones académicas, desde una metodología conscientemente interdisciplinar, este artículo explora la problemática que se deriva a la hora de acometer un diseño de producción de un universo transmedia. Se parte del estudio del caso Plot 28 (2013), narrativa transmedia cocreada por el autor del artículo, para ir radiografiando los distintos pasos de ese diseño de potenciales audiencias –parte fundamental del diseño de producción en la lógica transmedial-: destinatarios, público objetivo, perfil, intereses y motivaciones de los usuarios, evolución del consumidor al prosumidor, exigencias de la cultura participativa, los Contenidos Generados por Usuarios (CGU), creación de comunidades de fans a partir de narrativas participativas y su proyección en las redes sociales. Amparándose en las aportaciones de la mercadotecnia, cruzándolas con la narratología, los estudios inermediales y de los new media, así como los estudios de recepción, se buscan unos parámetros que definan las problemáticas y el modus operandi con vistas a lanzar un producto basado en el transmedia storytelling. Combining the experience as a transmedia author and the academic approach, from an interdisciplinar methodology, this article explores the challenges about a transmedia production design. From the case study of Plot 28 (2013), a Spanish transmedia storytelling created by the author of this text, it will be the excuse of mapping the different steps in order to reach the potential audiences; this is a relevant part of transmedia production design that has an impact on several items: target, profiles, interests, motivation of users, evolution from consumer to prosumer, challenges of participative culture, Users Generated Contents, fandom and the use of social networks… Sharing the advances of marketing, mixing with narratology, studies in intermediality, recepcion and new media studies, this text is looking for some parameters to define which is the modus operandi to put on the market a transmedia product.  

Mobility and Immobility in a Transnational Context: Changing Views of Migration among the Kazakh Diaspora in Mongolia

2006 ◽  
Vol 3 (1) ◽  
pp. 49-62 ◽  
Author(s):  
Cynthia Werner ◽  
Holly R. Barcus
Keyword(s):  
Social Networks ◽  
Transnational Migration ◽  
Access To Information ◽  
Kazakh Population ◽  
Methodological Approaches

Inquiry into the causes and outcomes of transnational migration spans numerous disciplines, scales and methodological approaches.  Fewer studies focus on immobility.  Utilizing the Kazakh population of Mongolia as a case study, this paper considers how non-migrants view the economic and cultural costs of migrating.  We posit that three factors, including local place attachments specific to Mongolia, access to information about life in Kazakhstan and the importance of maintaining social networks in Mongolia, contribute substantially to their decision to not migrate. Our findings suggest that the decision to not migrate can be very strategic for non-migrants in highly transnational contexts.  

Applications of random graphs

2017 ◽  
Author(s):  
A.C.C. Coolen ◽  
A. Annibale ◽  
E.S. Roberts
Keyword(s):  
Social Networks ◽  
Random Graphs ◽  
Interaction Network ◽  
Power Grids ◽  
Protein Protein Interaction ◽  
Topological Features ◽  
First Case ◽  
The Stability ◽  
Protein Protein Interaction Network

This chapter reviews graph generation techniques in the context of applications. The first case study is power grids, where proposed strategies to prevent blackouts have been tested on tailored random graphs. The second case study is in social networks. Applications of random graphs to social networks are extremely wide ranging – the particular aspect looked at here is modelling the spread of disease on a social network – and how a particular construction based on projecting from a bipartite graph successfully captures some of the clustering observed in real social networks. The third case study is on null models of food webs, discussing the specific constraints relevant to this application, and the topological features which may contribute to the stability of an ecosystem. The final case study is taken from molecular biology, discussing the importance of unbiased graph sampling when considering if motifs are over-represented in a protein–protein interaction network.

MapTap and Cornelia Slow Digital Art History and Formal Art Historical Social Network Research

2016 ◽  
Vol 79 (3) ◽  
pp. 315-330 ◽  
Author(s):  
Koenraad Brosens ◽  
Klara Alen ◽  
Astrid Slegten ◽  
Fred Truyen
Keyword(s):  
Social Networks ◽  
Social Network ◽  
Early Modern ◽  
Data Model ◽  
Art History ◽  
Digital Art ◽  
Unique Data ◽  
Network Research ◽  
Custom Made

Abstract The essay introduces MapTap, a research project that zooms in on the ever-changing social networks underpinning Flemish tapestry (1620 – 1720). MapTap develops the young and still slightly amorphous field of Formal Art Historical Social Network Research (FAHSNR) and is fueled by Cornelia, a custom-made database. Cornelia’s unique data model allows researchers to organize attribution and relational data from a wide array of sources in such a way that the complex multiplex and multimode networks emerging from the data can be transformed into partial unimode networks that enable proper FAHSNR. A case study revealing the key roles played by women in the tapestry landscape shows how this kind of slow digital art history can further our understanding of early modern creative communities and industries.

Deepfaking Keanu: YouTube deepfakes, platform visual effects, and the complexity of reception

2021 ◽  
pp. 135485652110304
Author(s):  
Lisa Bode
Keyword(s):  
Film Studies ◽  
Media Theory ◽  
Digital Rhetoric ◽  
Visual Effects ◽  
After Effects ◽  
Starting Point ◽  
Media Creation ◽  
Media Practices

On July 14, 2019, a 3-minute 36-second video titled “Keanu Reeves Stops A ROBBERY!” was released on YouTube visual effects (VFX) channel, Corridor. The video’s click-bait title ensured it was quickly shared by users across platforms such as Facebook, Twitter, and Reddit. Comments on the video suggest that the vast majority of viewers categorised it as fiction. What seemed less universally recognised, though, was that the performer in the clip was not Keanu Reeves himself. It was voice actor and stuntman Reuben Langdon, and his face was digitally replaced with that of Reeves, through the use of an AI generated deepfake, an open access application, Faceswap, and compositing in Adobe After Effects. This article uses Corridor’s deepfake Keanu video (hereafter shorted to CDFK) as a case study which allows the fleshing out of an, as yet, under-researched area of deepfakes: the role of framing contexts in shaping how viewers evaluate, categorise, make sense of and discuss these images. This research draws on visual effects scholarship, celebrity studies, cognitive film studies, social media theory, digital rhetoric, and discourse analysis. It is intended to serve as a starting point of a larger study that will eventually map types of online manipulated media creation on a continuum from the professional to the vernacular, across different platforms, and attending to their aesthetic, ethical, cultural and reception dimensions. The focus on context (platform, creator channel, and comments) also reveals the emergence of an industrial and aesthetic category of visual effects, which I call here “platform VFX,” a key term that provides us with more nuanced frames for illuminating and analysing a range of manipulated media practices as VFX software becomes ever more accessible and lends itself to more vernacular uses, such as we see with various face swap apps

scholarly journals Debate on online social networks at the time of COVID-19: An Italian case study

2021 ◽  
Vol 23 ◽  
pp. 100136
Author(s):  
Martino Trevisan ◽  
Luca Vassio ◽  
Danilo Giordano
Keyword(s):  
Social Networks ◽  
Online Social Networks ◽  
Italian Case

Markers of identification in Indigenous academic writing: A case study of genre innovation

2020 ◽  
Vol 0 (0) ◽  
Author(s):  
Shurli Makmillen ◽  
Michelle Riedlinger
Keyword(s):  
Communities Of Practice ◽  
Social Relations ◽  
Academic Writing ◽  
Genre Studies ◽  
Linguistic Features ◽  
Study Approach ◽  
Research Article ◽  
Rhetorical Genre ◽  
Academic Genres

AbstractThis study contributes to research into genre innovation and scholarship exploring how Indigenous epistemes are disrupting dominant discourses of the academy. Using a case study approach, we investigated 31 research articles produced by Mäori scholars and published in the journal AlterNative between 2006 and 2018. We looked for linguistic features associated with self-positioning and self-identification. We found heightened ambiguous uses of “we”; a prevalence of verbs associated with personal (as opposed to discursive) uses of “I/we”; personal storytelling; and a privileging of Elders’ contributions to the existing state of knowledge. We argue these features reflect and reinforce Indigenous scholars’ social relations with particular communities of practice within and outside of the academy. They are also in keeping with Indigenous knowledge-making practices, protocols, and languages, and signal sites of negotiation and innovation in the research article. We present the implications for rhetorical genre studies and for teaching academic genres.

scholarly journals Becoming a Crorepati: From Glocal TV Game to Grobal Fiction

2020 ◽  
Vol 73 (3) ◽  
pp. 497-520
Author(s):  
Nicola Pozza
Keyword(s):  
Effective Means ◽  
The Novel ◽  
Cultural Products ◽  
Slumdog Millionaire ◽  
Interactive Nature ◽  
Tv Show ◽  
Shed Light ◽  
The Way

AbstractNumerous studies have dealt with the process of globalization and its various cultural products. Three such cultural products illustrate this process: Vikas Swarup’s novel Q and A (2005), the TV quiz show Kaun banega crorepati? (Who Wants to Be a Millionaire?), and Danny Boyle’s film Slumdog Millionaire (2008). The novel, the TV show and the film have so far been studied separately. Juxtaposing and comparing Q and A, Kaun banega crorepati, and Slumdog Millionaire provides an effective means to shed light on the dialogic and interactive nature of the process of globalization. It is argued through this case study that an analysis of their place of production, language and content, helps clarify the derivative concepts of “glocalization” and “grobalization” with regard to the way(s) contemporary cultural products respond to globalization.

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