• ABOUT

  FlowTV is a critical forum on television and media culture published by the Department of Radio, Television, and Film at the University of Texas at Austin. Flow’s mission is to provide a space where the public can discuss the changing landscape of contemporary media.

• Archives

  Select Category 13.13 14.07 14.08 Asides CFP Featured Articles Guest Columns Lead Story Special Events Special Features Uncategorized Volume 1    1.01    1.02    1.03    1.04    1.05    1.06    1.07    1.08    1.09    1.10    1.11    1.12 Volume 10    10.01    10.02    10.03    10.04    10.05    10.06    10.07    10.08    10.09    10.10 – Special Issue: Sports Media Volume 11    11.01    11.02    11.03    11.04    11.05    11.06    11.07    11.08    11.09 – Special Issue: Flow Favorites 2010    11.10    11.11    11.12    11.13    11.14 – Special Issue: The Archive Volume 12    12.01    12.02    12.03    12.04    12.05    12.06    12.07    12.08    12.09 Volume 13    13.01    13.02    13.03    13.04    13.05 – Special Issue: Aca-Fandom    13.06    13.07    13.08    13.09    13.10    13.11    13.12    13.14 – Special Issue: Flow Favorites 2011 Volume 14    14.01    14.02    14.03    14.04    14.05    14.06    14.09 Volume 15    15.01    15.02    15.03    15.04    15.05 Volume 2    2.01    2.02    2.03    2.04    2.05    2.06    2.07    2.08    2.09    2.10 Volume 3    3.01    3.02    3.03    3.04    3.05    3.06    3.07    3.08    3.09    3.10    3.11    3.12 Volume 4    4.01    4.02    4.03    4.04    4.05    4.06    4.07    4.08    4.09    4.10    4.11    4.12 Volume 5    5.01    5.02    5.03    5.04    5.05    5.06    5.07    5.08    5.09    5.10    5.11    5.12    5.13 – Special Issue: Flow Conference 2006    5.14 – Special Issue: Latin American Media    5.15 – Special Issue: Video Games Volume 6    6.01    6.02    6.03    6.04    6.05    6.06    6.07    6.08    6.09 Volume 7    7.01    7.02    7.03    7.04    7.05    7.06    7.07    7.08    7.09 – Special Issue: Flow Favorites    7.10    7.11    7.12    7.13    7.14 – Special Issue: “Battlestar Galactica”    7.15 – Special Issue: The Writers’ Strike Volume 8    8.01    8.02    8.03    8.04    8.05    8.06    8.07    8.08    8.09    8.10 – Special Issue: Sarah Palin and the Media Volume 9    9.01    9.02    9.03    9.04    9.05    9.06 – Top 10 Lists 2008    9.07    9.08    9.09 – Special Issue: Saturday Night Live    9.10    9.11    9.12    9.13    9.14 – Special Issue: Social Media

• RECENT COMMENTS

  • Blog Posts #6 and #7 « Introduction: Film and New Media on Race and Labor, Unplugged: Alex Rivera’s Sleep Dealer
    Dale Hudson / NYU Abu Dhabi
  • Nicole on Digital Media: Hot or Cool?
    Nicole Starosielski / Miami University
  • Book Review: Legitimating Television by Newman and Levine « Media Milieus on Formatted to Fit Your Screen
    Jonathan Sterne / McGill University
  • Faculty Research: Dr. Randy Lewis on Unplugging at Flow « AMS :: ATX on No Arguments for the Elimination of Anything
    Randy Lewis/University of Texas at Austin
  • Michael on The Banality of Violence
    Robert Hariman/Northwestern University and John Louis Lucaites/Indiana University

Special Features

Problems in “Wellywood”: Rethinking the politics of transnational cultural labor
Bridget Conor / Goldsmiths College, University of London(2)

January 28, 2011

Bridget Conor examines the politics of transnational cultural labor in last fall’s Hobbit dispute.

Fractured Soul: Heroes’ Supermom and the Crisis of Post-Feminist Motherhood
Laura Mattoon D’Amore / Boston University

Queuing at Lloyds Bank
Diane Negra / University College Dublin

The Weigh-in as National Money Shot
Jennifer Fremlin / Huntingdon College

How weight-loss shows function in a manner similar to pornography, though with an added spectacle of shame.

More in this category:

• TV Cooking Shows: The Evolution of a Genre

  Kathleen Collins / John Jay College, CUNY

• Pardon the Competition: ESPN Turns Sports Talk Into a Game
• From Irrelevance to On-Demand: Changing Models of Dissemination
• Becoming the Other: Multiculturalism in Joss Whedon’s Angel
• Putting the ‘F’ Back in Art
• The Cult of Æon Flux

• Convergence as Conflict: the Tasing of Andrew Meyer

• Why Political Journalists Should Get Into Top Gear

• Indigeneity for Life: Bro’town and Its Stereotypes

• Comics to Film (And Halfway Back Again): A DVD Essay

• YouTube vs. Main Stream Media:
  Kissing Cousins or Feuding Siblings?

• Catfight in My Name is Earl as a Site of Feminist Resistance

• Primetime’s Incompetent Liberalism

• Temporary Guantanomous Zones: Reality Camps and Crucibles

• The Best 10 Minutes of Television?… Ever?

• Is There a Detective in the House?

• ESPN’s “Full Circle” and Media Convergence

• Cold Case: Ripped from the Headlines

• lonelygirl15: The Pleasures and Perils of Participation

• “Israeli Idol” Goes to War: The Globalization of Television Studies

• Seeing the Back of Berlusconi? The Current Situation of the Media in Italy

• Family, Fate and the Finale of Will and Grace

• The Curious State of Live TV

• Playing in the Technological Sandbox

• CSI is Effecting Me

• Is It Live or Is It Real?: Live Television's Shrinking Significance in Modern Life

• The Lure of American Idol Explained: Parasocial Relationships and Emotional Vicarious Living in Live TV

• Where the Boys Are: Postfeminism and the New Single Man

• The Linguistics of Taste

• “Ad”ing by Subtraction

• The Open University, Media Studies and New Times

• Devils in the Details

• When I Grow Up I Want to Be a Boy: Transgeneration’s Meditation on the “Real”

• When Mullahs Ride the Airwaves: Muslim Televangelists and the Saudi Connection

• Reconsidering the Technological Limitations and Potential of Large Format

• Hurricane Spectacles and the Crisis of the Bush Presidency

• An Analog Form in a Digital Box: Sitcoms, Mitcoms, and New Media Pliancy

• Taming the Global on Italian Television

• The Audience Factor