New Issue of Flow Live!
Flow Journal <[email protected]> Tue, 3 Dec 2019 15:03:18 -0600
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--000000000000b129ac0598d3088e Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable The journal is proud to announce the publication of issue 26.03! This month's articles: >> Kathleen Loock, "'The Most Wonderful Time of the Year': Christmas Classics Old and New" <http://www.flowjournal.org/2019/11/christmas-classics-old-and-new/> Kathleen Loock compares definitive Christmas classics *It's a Wonderful Life* and *Drei Haseln=C3=BCsse f=C3=BCr Aschenbr=C3=B6del* to contemporary= holiday movie releases from Netflix, exploring how the streaming service is using the niche genre to create Christmas movies for a global audience. >>> C=C3=A1el M. Keegan, "In Praise of the Bad Transgender Object: *Rocky H= orror* " <http://www.flowjournal.org/2019/11/in-praise-of-the-bad/> *The Rocky Horror Picture Show* has been the object of ongoing cultural fascination and criticism for its portrayal of transgender stereotypes. C=C3=A1el M. Keegan questions whether this =E2=80=9Cbad object=E2=80=9D is = redeemable in an exploration of the standards of representation in the transgender media archive. >>> Sarah T. Roberts, "Section 230 as American Tech's 'Soft Power' Secret Weapon" <http://www.flowjournal.org/2019/11/section-230-soft-power/> Analyzing recent Congressional testimony of social media and internet content firms, Sarah T. Roberts reveals the expanding "soft power" reach of Section 230 of the Communication Decency Act of 1996. >>> Brian Fauteux, "Advocating on Behalf of Independent Musicians: Copyright Reform and Corporate Consolidation" <http://www.flowjournal.org/2019/11/advocating-for-musicians/> Brian Fauteux takes readers through his experience participating in Canada's copyright review process, particularly highlighting how the current state of the market grants large companies a great deal of control over artists. >>> Helen Morgan-Parmett, "Gender, Place, and Nostalgia in The Marvelous Mrs. Maisel" <http://www.flowjournal.org/2019/11/gender-place-nostalgia-in-maisel/> Analyzing The Marvelous Mrs. Maisel, Helen Morgan-Parmett discusses the intersections of gender and urban crisis in nostalgic discourses surrounding New York's past, present, and future. >>> Deborah L. Jaramillo, "Finding the 'TV' in TV News" <http://www.flowjournal.org/2019/11/finding-tv-in-tv-news/> Deborah L. Jaramillo contemplates television studies' limited analysis of TV news and issues an important call for the re-examination of such texts as a genre. >>> Finley Freibert, "A Public Records Request Rabbit Hole in the Study of Nontheatrical Distribution" <http://www.flowjournal.org/2019/11/rabbit-hole-of-nontheatrical-distributi= on/> Finley Freibert reveals the challenges of accessing public records and telling the history of gay, nontheatrical film distributor, John Samuel Bridges, in 1960s San Francisco. >>> Travis Warren Cooper, "Terrence Malick's Architecture of the Domestic" <http://www.flowjournal.org/2019/11/malicks-architecture/> Through a close reading of Malick's Tree of Life, Travis Warren Cooper offers up a comparative analysis of architectural style found in Hollywood films. *Flow* <http://flowjournal.org> is a critical forum on television and media culture published by the Department of Radio-Television-Film <https://rtf.utexas.edu> at the University of Texas at Austin. *Flow*'s mission is to provide a space where scholars and the public can discuss media histories, media studies, and the changing landscape of contemporary media. =3D=3D=3D=3D=3D General list info and FAQ: http://comm.umn.edu/~grodman/cultstud.html --000000000000b129ac0598d3088e Content-Type: text/html; charset="UTF-8" Content-Transfer-Encoding: quoted-printable <div dir=3D"ltr"><div class=3D"gmail_default" style=3D"font-family:arial,he= lvetica,sans-serif;font-size:small"><p dir=3D"ltr" style=3D"line-height:1.2= ;margin-top:0pt;margin-bottom:0pt"><span style=3D"vertical-align:baseline;w= hite-space:pre-wrap">The journal is proud to announce the publication of is= sue 26.03<span class=3D"gmail_default" style=3D"font-family:arial,helvetica= ,sans-serif;font-size:small">!</span> <span class=3D"gmail_default" style= =3D"font-family:arial,helvetica,sans-serif;font-size:small">This month'= s articles</span><span class=3D"gmail_default" style=3D"font-family:arial,h= elvetica,sans-serif;font-size:small">:</span></span></p><p dir=3D"ltr" styl= e=3D"line-height:1.2;margin-top:0pt;margin-bottom:0pt"><span style=3D"verti= cal-align:baseline;white-space:pre-wrap"><span class=3D"gmail_default" styl= e=3D"font-family:arial,helvetica,sans-serif;font-size:small"></span><br></s= pan></p><p style=3D"line-height:1.2;margin-top:0pt;margin-bottom:0pt"><span= style=3D"background-color:rgb(255,255,255)"><a href=3D"http://www.flowjour= nal.org/2019/11/christmas-classics-old-and-new/"><span style=3D"vertical-al= ign:baseline;white-space:pre-wrap"><span class=3D"gmail_default" style=3D"f= ont-family:arial,helvetica,sans-serif;font-size:small">>> Kathleen Lo= ock, "'The Most Wonderful Time of the Year': Christmas Classic= s Old and New"</span></span></a></span></p><p style=3D"line-height:1.2= ;margin-top:0pt;margin-bottom:0pt"><span style=3D"vertical-align:baseline;w= hite-space:pre-wrap"><span class=3D"gmail_default" style=3D"font-family:ari= al,helvetica,sans-serif;font-size:small">Kathleen Loock compares definitive= Christmas classics <i>It's a Wonderful Life</i> and <i>Drei Haseln=C3= =BCsse f=C3=BCr Aschenbr=C3=B6del</i> to contemporary holiday movie release= s from Netflix, exploring how the streaming service is using the niche genr= e to create Christmas movies for a global audience.</span></span></p><p sty= le=3D"line-height:1.2;margin-top:0pt;margin-bottom:0pt"><span style=3D"vert= ical-align:baseline;white-space:pre-wrap"><br><a href=3D"http://www.flowjou= rnal.org/2019/11/in-praise-of-the-bad/">>>> C=C3=A1el M. Keegan, &= quot;In Praise of the Bad Transgender Object: <i>Rocky Horror</i>"</a>= </span></p><p style=3D"line-height:1.2;margin-top:0pt;margin-bottom:0pt"><s= pan style=3D"vertical-align:baseline;white-space:pre-wrap"><i>The Rocky Hor= ror Picture Show</i> has been the object of ongoing cultural fascination an= d criticism for its portrayal of transgender stereotypes. C=C3=A1el M. Keeg= an questions whether this =E2=80=9Cbad object=E2=80=9D is redeemable in an = exploration of the standards of representation in the transgender media arc= hive.</span></p><p style=3D"line-height:1.2;margin-top:0pt;margin-bottom:0p= t"><span style=3D"vertical-align:baseline;white-space:pre-wrap"><br></span>= </p><p dir=3D"ltr" style=3D"line-height:1.2;margin-top:0pt;margin-bottom:0p= t"><span style=3D"vertical-align:baseline;white-space:pre-wrap"><a href=3D"= http://www.flowjournal.org/2019/11/section-230-soft-power/">>>> Sa= rah T. Roberts, "Section 230 as American Tech's 'Soft Power= 9; Secret Weapon"</a><br>Analyzing recent Congressional testimony of s= ocial media and internet content firms, Sarah T. Roberts reveals the expand= ing "soft power" reach of Section 230 of the Communication Decenc= y Act of 1996.</span></p></div><div class=3D"gmail_default" style=3D"font-f= amily:arial,helvetica,sans-serif;font-size:small"><br></div><div class=3D"g= mail_default" style=3D"font-family:arial,helvetica,sans-serif;font-size:sma= ll"><a href=3D"http://www.flowjournal.org/2019/11/advocating-for-musicians/= ">>>> Brian Fauteux, "Advocating on Behalf of Independent Mus= icians: Copyright Reform and Corporate Consolidation"</a><br>Brian Fau= teux takes readers through his experience participating in Canada's cop= yright review process, particularly highlighting how the current state of t= he market grants large companies a great deal of control over artists.</div= ><div class=3D"gmail_default" style=3D"font-family:arial,helvetica,sans-ser= if;font-size:small"><br></div><div class=3D"gmail_default" style=3D"font-fa= mily:arial,helvetica,sans-serif;font-size:small"><a href=3D"http://www.flow= journal.org/2019/11/gender-place-nostalgia-in-maisel/">>>> Helen M= organ-Parmett, "Gender, Place, and Nostalgia in The Marvelous Mrs. Mai= sel"</a><br>Analyzing The Marvelous Mrs. Maisel, Helen Morgan-Parmett = discusses the intersections of gender and urban crisis in nostalgic discour= ses surrounding New York's past, present, and future.</div><div class= =3D"gmail_default" style=3D"font-family:arial,helvetica,sans-serif;font-siz= e:small"><br></div><div class=3D"gmail_default" style=3D"font-family:arial,= helvetica,sans-serif;font-size:small"><a href=3D"http://www.flowjournal.org= /2019/11/finding-tv-in-tv-news/">>>> Deborah L. Jaramillo, "F= inding the 'TV' in TV News"</a><br>Deborah L. Jaramillo contem= plates television studies' limited analysis of TV news and issues an im= portant call for the re-examination of such texts as a genre.</div><div cla= ss=3D"gmail_default" style=3D"font-family:arial,helvetica,sans-serif;font-s= ize:small"><br></div><div class=3D"gmail_default" style=3D"font-family:aria= l,helvetica,sans-serif;font-size:small"><a href=3D"http://www.flowjournal.o= rg/2019/11/rabbit-hole-of-nontheatrical-distribution/">>>> Finley = Freibert, "A Public Records Request Rabbit Hole in the Study of Nonthe= atrical Distribution"</a><br>Finley Freibert reveals the challenges of= accessing public records and telling the history of gay, nontheatrical fil= m distributor, John Samuel Bridges, in 1960s San Francisco.</div><div class= =3D"gmail_default" style=3D"font-family:arial,helvetica,sans-serif;font-siz= e:small"><br></div><div class=3D"gmail_default" style=3D"font-family:arial,= helvetica,sans-serif;font-size:small"><a href=3D"http://www.flowjournal.org= /2019/11/malicks-architecture/">>>> Travis Warren Cooper, "Te= rrence Malick's Architecture of the Domestic"</a><br>Through a clo= se reading of Malick's Tree of Life, Travis Warren Cooper offers up a c= omparative analysis of architectural style found in Hollywood films.<p dir= =3D"ltr" style=3D"line-height:1.2;margin-top:0pt;margin-bottom:0pt"><span><= font size=3D"2" face=3D"arial, helvetica, sans-serif"><span style=3D"vertic= al-align:baseline;white-space:pre-wrap"><span class=3D"gmail_default" style= =3D"font-family:arial,helvetica,sans-serif;font-size:small"></span></span><= /font></span><br><span style=3D"vertical-align:baseline;white-space:pre-wra= p"><span><font size=3D"2" face=3D"arial, helvetica, sans-serif"><span style= =3D"vertical-align:baseline;white-space:pre-wrap"><span class=3D"gmail_defa= ult" style=3D"font-family:arial,helvetica,sans-serif;font-size:small"></spa= n></span></font></span></span></p><p dir=3D"ltr" style=3D"line-height:1.2;m= argin-top:0pt;margin-bottom:0pt"><span style=3D"vertical-align:baseline;whi= te-space:pre-wrap"><a href=3D"http://flowjournal.org"><i>Flow</i></a> is a = critical forum on television and media culture published by the <a href=3D"= https://rtf.utexas.edu" target=3D"_blank">Department of Radio<span class=3D= "gmail_default" style=3D"font-family:arial,helvetica,sans-serif;font-size:s= mall">-</span>Television<span class=3D"gmail_default" style=3D"font-family:= arial,helvetica,sans-serif;font-size:small">-</span>Film</a> at the Univers= ity of Texas at Austin. <i>Flow</i>'s mission is to provide a space whe= re scholars and the public can discuss media histories, media studies, and = the changing landscape of contemporary media.</span></p></div><div><br></di= v></div> =3D=3D=3D=3D=3D General list info and FAQ: <a href=3D"http://comm.umn.edu/~grodman/cultstud.html" target=3D"_blank">http://comm.umn.edu/~grodman/cultstud.html</a> --000000000000b129ac0598d3088e--