Exploring TV Seriality and Television Studies through Data-Driven Approaches

The chapter discusses the use of data-driven approaches in television studies, which has become possible due to the increasing availability of digital data. Computational techniques can be used to analyze cultural artifacts, gain insights into audience reactions to specific shows or episodes, and investigate patterns and trends in television programming over time. The chapter also highlights the challenges of analyzing television series, which are complex open systems that interact with external factors such as the production process, audience feedback, and cultural and social context. Content analysis, which involves qualitative and quantitative methods based on the coding process and data collection, can be used to analyze various elements of a TV series. Generative AI is also discussed, which refers to the use of deep multi-modal algorithms to generate new content such as images, speech, and text. Generative methods like Generative Adversarial Networks (GANs) and Stable Diffusion can create new content that is almost indistinguishable from real data. While generating videos is more challenging, Recurrent Neural Networks (RNNs) like LSTMs can capture the temporal dynamics of the scenes to create interesting and promising applications for complex, but short-duration videos

An exploratory content analysis of comments and thumbnails of YouTube mukbang videos using computational methods

Mukbang continues to thrive on YouTube, originating as a trend but ultimately becoming ingrained in a cultural phenomenon. Nevertheless, the impact of Mukbang on individuals' eating patterns is a subject of debate. Mukbang videos can have negative consequences, such as weight gain and the development of eating disorders. Therefore, it is crucial to comprehend the viewers' perceptions of these videos. This study is exploratory research that utilizes computational methods to analyze comments and investigate the sentiment and emotion of the viewers. The mention of food cravings and YouTuber names is also being observed to find out if people focus on food or the YouTuber while they watch the video. Additionally, the visual attributes of the video thumbnails are examined to explore the visual characteristics of popular Mukbang videos. The results indicate that the dominant sentiment and emotion expressed by the people were 'positive' and 'happiness'. Additionally, the study reveals that the group that mentions craving or YouTubers showed a distinct sentiment from the group that does not. Visual analysis revealed that common characteristics observed in popular Mukbang videos include the use of warm colors and the inclusion of a person's face in their thumbnails.Advertisin

Evaluating Copyright Protection in the Data-Driven Era: Centering on Motion Picture\u27s Past and Future

Since the 1910s, Hollywood has measured audience preferences with rough industry-created methods. In the 1940s, scientific audience research led by George Gallup started to conduct film audience surveys with traditional statistical and psychological methods. However, the quantity, quality, and speed were limited. Things dramatically changed in the internet age. The prevalence of digital data increases the instantaneousness, convenience, width, and depth of collecting audience and content data. Advanced data and AI technologies have also allowed machines to provide filmmakers with ideas or even make human-like expressions. This brings new copyright challenges in the data-driven era. Massive amounts of text and data are the premise of text and data mining (TDM), as well as the admission ticket to access machine learning technologies. Given the high and uncertain copyright violation risks in the data-driven creation process, whoever controls the copyrighted film materials can monopolize the data and AI technologies to create motion pictures in the data-driven era. Considering that copyright shall not be the gatekeeper to new technological uses that do not impair the original uses of copyrighted works in the existing markets, this study proposes to create a TDM and model training limitations or exceptions to copyrights and recommends the Singapore legislative model. Motion pictures, as public entertainment media, have inherently limited creative choices. Identifying data-driven works’ human original expression components is also challenging. This study proposes establishing a voluntarily negotiated license institution backed up by a compulsory license to enable other filmmakers to reuse film materials in new motion pictures. The film material’s degree of human original authorship certified by film artists’ guilds shall be a crucial factor in deciding the compulsory license’s royalty rate and terms to encourage retaining human artists. This study argues that international and domestic policymakers should enjoy broad discretion to qualify data-driven work’s copyright protection because data-driven work is a new category of work. It would be too late to wait until ubiquitous data-driven works block human creative freedom and floods of data-driven work copyright litigations overwhelm the judicial systems

Montana Journalism Review, 1997

Journalists’ con games can backfire -- 100 years of the Kaimin -- Sheriff Plummer\u27s revenge -- Beware the bean counters -- Barbed wire and butter battles -- When judges want courtroom doors open -- Mayan souls -- The good, the bad and the ugly -- Filmmaker heaves video grenades -- Paper chase -- The perfect place to die -- Smart newspapers byte back -- Reporting a “miracle” -- Eco-pendulum -- Breathing life into KUFM-T

Robert Altman : erste bibliographische Notizen

Die folgende Arbeitsbibliographie entstand im Kontext eines Seminars zu den Filmen Altmans. Sie versteht sich als eine erste Durchsicht des Materials und soll fortgeschrieben werden. Die Oscar-Verleihung im März 2006 wird auch das akademische Interesse an Altmans Filmen beleben - insbesondere für diesen Kontext versteht sich die folgende Sammlung. Wir bitten, uns Ergänzungen und Korrekturen, Abstracts und Hinweise auf Mehrfachabdrucke zuzusenden, wir werden sie in die Bibliographie einfügen und sie gelegentlich in erweiterter Fassung online zugänglich machen

Mad Men, Mad World

Since the show's debut in 2007, Mad Men has invited viewers to immerse themselves in the lush period settings, ruthless Madison Avenue advertising culture, and arresting characters at the center of its 1960s fictional world. Mad Men, Mad World is a comprehensive analysis of this groundbreaking TV series. Scholars from across the humanities consider the AMC drama from a fascinating array of perspectives, including fashion, history, architecture, civil rights, feminism, consumerism, art, cinema, and the serial format, as well as through theoretical frames such as critical race theory, gender, queer theory, global studies, and psychoanalysis. In the introduction, the editors explore the show's popularity; its controversial representations of race, class, and gender; its powerful influence on aesthetics and style; and its unique use of period historicism and advertising as a way of speaking to our neoliberal moment. Mad Men, Mad World also includes an interview with Phil Abraham, an award-winning Mad Men director and cinematographer. Taken together, the essays demonstrate that understanding Mad Men means engaging the show not only as a reflection of the 1960s but also as a commentary on the present day. Contributors. Michael Bérubé, Alexander Doty, Lauren M. E. Goodlad, Jim Hansen, Dianne Harris, Lynne Joyrich, Lilya Kaganovsky, Clarence Lang, Caroline Levine, Kent Ono, Dana Polan, Leslie Reagan, Mabel Rosenheck, Robert A. Rushing, Irene Small, Michael Szalay, Jeremy Varo

FROM CREATOR TO CURATOR TO AUTHOR AS CONTENT: NICOLAS WINDING REFN, TRANSDISCURSIVE AUTHORSHIP, AND SELF-BRANDING IN TWENTY-FIRST CENTURY MEDIA

This dissertation traces Danish director Nicolas Winding Refn’s development from creator and curator to author as content within an evolving media ecology driven by capitalist ideology. A close critical study of Refn’s career from 1996 to 2019 offers insight into contemporary techniques of creating, collecting, and curating media texts, as well as the phenomenon of presenting oneself as content via discursive branding. Given that Refn’s career coincided with the emergence of the World Wide Web and the rise of digital platforms, he thus emblematizes what it means to be a creator working within an increasingly interconnected media ecology. Refn initially established himself as a traditional auteur as defined by scholars such as Peter Wollen. During this time, he took the first steps toward developing his mediated persona, which consists mainly of discourse fragments generated by critics, scholars, fans, and Refn himself. Eventually, however, Refn emerged as a transmedia auteur whose works span various media and platforms while still retaining his signature stylistic and narratological tendencies. Around the same time, Refn gained a reputation as a collector and fan curator through projects such as the coffee table book The Act of Seeing and the branded streaming platform byNWR.com, both of which position him as a cultural intermediary who shapes the tastes of others. Eventually Refn’s likeness was used by game developer Hideo Kojima in the video game Death Stranding, which demonstrates how a creator’s brand can be appropriated and used ludically by other creators in their own works. Refn’s brand becomes a significant text, as he uses it to discursively reject corporate cinema and celebrate regional exploitation cinema even as he frequently replicates aspects of corporate cinema in his own films. Drawing on the theories of polymediation and transdiscursivity, the analysis considers how late-stage capitalism shapes Refn’s career trajectory, which points toward potentially new forms of commodification and exploitation as authors become yet another form of branded content

The Essential Cult TV Reader

The Essential Cult TV Reader is a collection of insightful essays that examine television shows that amass engaged, active fan bases by employing an imaginative approach to programming. Once defined by limited viewership, cult TV has developed its own identity, with some shows gaining large, mainstream audiences. By exploring the defining characteristics of cult TV, The Essential Cult TV Reader traces the development of this once obscure form and explains how cult TV achieved its current status as legitimate television. The essays explore a wide range of cult programs, from early shows such as Star Trek, The Avengers, Dark Shadows, and The Twilight Zone to popular contemporary shows such as Lost, Dexter, and 24, addressing the cultural context that allowed the development of the phenomenon. The contributors investigate the obligations of cult series to their fans, the relationship of camp and cult, the effects of DVD releases and the Internet, and the globalization of cult TV. The Essential Cult TV Reader answers many of the questions surrounding the form while revealing emerging debates on its future. David Lavery, professor of English at Middle Tennessee State University, is the founding editor of Critical Studies in Television: Scholarly Studies of Small Screen Fictions. “An engaging, in-depth look at the often-slippery category of cult programming and is the perfect starting point for further studies on the subject.”—Studies In American Culturehttps://uknowledge.uky.edu/upk_american_popular_culture/1001/thumbnail.jp

Theatres of Reality, Fiction, and Temporality: Vegard Vinge and Ida Müller’s \u3cem\u3eIbsen-Saga\u3c/em\u3e (2006 - 2015)

This dissertation examines the influence of modernist aesthetics and ideologies on contemporary, European and U.S. experimental theatre. I argue that modernist and contemporary experimental theatres offer competing notions of reality, fiction, and temporality, which I interrogate through Vegard Vinge and Ida Müller’s Ibsen-Saga. I illuminate this tension by reading current modes of performance against the Saga’s productions and work practices, as well as their aesthetic and ideological foundation in three modernist sources: the artificiality of Ibsen’s realism, the utopianism and totality of Richard Wagner’s Gesamtkunstwerk, and the temporal provocations of the historical avant-gardes. I contend that the Saga reanimates Ibsen, Wagner, and the avant-gardes’ modernist forms and ideas to reject the conventions of twenty-first century practice