- The Oxford Handbook of Film and Media Studies
- Digital Media and the Future of Filmic Narrative
- The Latest Laocoön: Medium Specificity and the History of Film Theory
- Visual Media and the Tyranny of the Real
- Radical Aspirations Historicized: The European Commitment to Political Documentary
- Loss of Light: The Long Shadow of Photography in the Digital Age
- Media Celebrity in the Age of the Image
- Film Genre Theory and Contemporary Media: Description, Interpretation, Intermediality
- <i>Gilda</i>: Textual Analysis, Political Economy, and Ethnography
- Television's First Seventy-five Years: The Interpretive Flexibility of a Medium in Transition
- “The End of TV As We Know It”: Convergence Anxiety, Generic Innovation, and the Case of <i>24</i>
- Screen Practice and Conglomeration: How Reflexivity and Conglomeration Fuel Each Other
- The Chinese Action Image and Postmodernity
- When Cute Becomes Scary: The Young Female in Contemporary Japanese Horror Cinema
- Asian Film and Digital Culture
- Popular Cinema and the “New” Media in India
- Dreaming with Open Eyes: Latin American Media in the Digital Age
- The Globalization of Filmmaking in Latin America and the Middle East
- Computers and Cultural Studies
- Film and Media Studies Pedagogy
- Copyright, Fair Use, and Motion Pictures
- Evolution of Modern-Day Independent Filmmaking
- The Digital Revolution
Abstract and Keywords
This article takes a look at the stylistic and textual practices of television, as well as the industrial practices of contemporary conglomeration. It shows that the reflexive stylistic practices were not only markers of edgy programming, but also as lucrative mainstream mechanisms. These helped rationalize the industry and familiarize the viewers to the logic and possibilities of the new conglomerates.
John T. Caldwell is chair of film and television critical studies at UCLA. His books include Televisuality: Style, Crisis, and Authority in American Television (1995); Electronic Media and Technoculture (1995, editor); New Media: Theories and Practices of Digitextuality (2003, coeditor); and Production Culture: Industrial Reflexivity and Critical Practice in Film/Television (2008).
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