Global Storytelling: Journal of Digital and Moving Images最新文献

Platformized Seriality: Chinese Time Travel Fantasy from Prime-time Television to Online Streaming 平台化的连续剧:从黄金时段电视到在线流媒体的中国穿越幻想

Global Storytelling: Journal of Digital and Moving Images Pub Date : 2022-07-20 DOI: 10.3998/gs.2663

Jia Tan

{"title":"Platformized Seriality: Chinese Time Travel Fantasy from Prime-time Television to Online Streaming","authors":"Jia Tan","doi":"10.3998/gs.2663","DOIUrl":"https://doi.org/10.3998/gs.2663","url":null,"abstract":"While seriality has long been associated with broadcast and cable television, the global rise of online streaming has brought development of what I call platformized seriality: assemblages of online platform infrastructure design, content regulation, generic convention, and experimentation. The notion of platformized seriality points to a complex refiguration of specific media content and genre forms that are usually overlooked in platform studies. This essay analyzes time-travel serials—now immensely popular in the context of China’s growing video-streaming industry, convergence culture, and the financial boom of digital platforms. Analyzing the trope of the female time traveler in historical romance, this essay examines how chuanyue, or the Chinese time-travel genre, subtly unsettles contemporary gender-related anxiety and the dominant discourse on development and progress, something that partly explains the pleasure it generates. The genre of chuanyue benefited from the rise of platform infrastructure designs such as bullet screens and pay-on-demand-in-advance services that direct new forms of audience engagement and new practices of binge-watching. Focusing on the fantasy genre and the mutability of the time traveler’s gender, sexuality, and class, I explore how the trope of traveling backward marks a reconfiguration of conceptions of time, space, and history and thus opens a space to negotiate with the neoliberal narratives of linear and progressivist temporality.","PeriodicalId":256176,"journal":{"name":"Global Storytelling: Journal of Digital and Moving Images","volume":"266 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122159091","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The History of the American Comic Book, Revised - Review of "Comic Books Incorporated: How the Business of Comics Became the Business of Hollywood" by Shawna Kidman, University of California Press, 2019 美国漫画书的历史，修订-评论“漫画书公司:漫画业务如何成为好莱坞的业务”由肖娜基德曼，加州大学出版社，2019年

Global Storytelling: Journal of Digital and Moving Images Pub Date : 2022-07-20 DOI: 10.3998/gs.2666

Asher Guthertz

{"title":"The History of the American Comic Book, Revised - Review of \"Comic Books Incorporated: How the Business of Comics Became the Business of Hollywood\" by Shawna Kidman, University of California Press, 2019","authors":"Asher Guthertz","doi":"10.3998/gs.2666","DOIUrl":"https://doi.org/10.3998/gs.2666","url":null,"abstract":"This book review of Shawna Kidman’s Comic Books Incorporated: How the Business of Comics Became the Business of Hollywood highlights the works crucial intervention in comic book studies. In the face of a rote history of the comic book as a persistent subcultural phenomenon, Kidman argues that attending to the various legal, social, and industrial infrastructures of comic book culture can illustrate the ebbs and flows of comic book popularity, its shifts in genres and tone, and its movements across mediums as the path of a “fundamentally corporate” medium, “a dominant form in a culture built to support its growth.” The review sketches the book’s chapters, which each focus on a different form of infrastructure relevant to the history of the comic book: distribution, copyright law, subculture, and financing. I end with further areas of research suggested by this work, particularly within the field of historical ethnography. While Comic Books Incorporated tells its story through the history of industrial logics, a closer attention to comic book reading practices during the time in which this story takes place can deepen our understanding of the transformation from a mass medium with seemingly equal readership across gender to a niche subcultural fascination for college aged white men.Throughout the text, the work demystifies a prevailing narrative that the comics industry and fanbase tells: that the success of the medium is due to the inherent quality of the source material. This book thoroughly demonstrates that the evolution of the comic book was driven not by creativity and iconoclasm, but by corporate logic.","PeriodicalId":256176,"journal":{"name":"Global Storytelling: Journal of Digital and Moving Images","volume":"04 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129774953","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Review of "Zola" (Janicza Bravo, 2020) 《左拉》书评(Janicza Bravo, 2020)

Global Storytelling: Journal of Digital and Moving Images Pub Date : 2022-07-20 DOI: 10.3998/gs.2667

Ann Metcalf

引用次数: 0

Letter from the Editor 编辑来信

Global Storytelling: Journal of Digital and Moving Images Pub Date : 2022-07-20 DOI: 10.3998/gs.2662

Ellen Seiter

引用次数: 0

The Patchwork that Makes a Global Streaming Giant - Review of "Netflix Nations: The Geography of Digital Distribution" by Ramon Lobato, New York University Press, 2019 拼凑成全球流媒体巨头——书评《奈飞国家:数字分销的地理》，拉蒙·洛巴托著，纽约大学出版社，2019年

Global Storytelling: Journal of Digital and Moving Images Pub Date : 2022-07-20 DOI: 10.3998/gs.2665

Grace Elizabeth Wilsey

引用次数: 0

Transgressive TV: Euphoria, HBO, and a New Trans Aesthetic 越轨电视:欣快、HBO和一种新的跨性别审美

Global Storytelling: Journal of Digital and Moving Images Pub Date : 2022-04-25 DOI: 10.3998/gs.1550

Paige Macintosh

{"title":"Transgressive TV: Euphoria, HBO, and a New Trans Aesthetic","authors":"Paige Macintosh","doi":"10.3998/gs.1550","DOIUrl":"https://doi.org/10.3998/gs.1550","url":null,"abstract":"While television shows Orange is the New Black and Transparent have made headlines for their inclusion of trans performers and their debatably authentic takes on trans experiences, Euphoria signals anew era in trans representation, one that is defined by a ‘cool’ trans aesthetic that epitomises multi-platform television’s investment in trans as an edgy brand marker. Where HBO differs from Amazon’s Transparent and Netflix’s OITNB is in its investment in a new type of trans representation that disrupts the cinematic and television tradition in which trans characters remain closely associated with tragedy or are relegated to the recent past. While HBO utilises both cable and VOD streaming services, its recent investment in trans discourses is in part a response to Netflix and Amazon Prime’s successful trans programming and indicative of the competitive value trans content offers content producers in the multi-platform era. Euphoria breaks new ground by offering a new aesthetic treatment of trans identity that invokes Gen-Z’s ubiquitous use of social media, creative application of makeup, and nuanced approach to gender and sexual identities. The show’s stylised aesthetic, represented through hyper-mobile cinematography and surreal lighting, reflects this transgressive approach while also highlighting the show’s hyper-subjective framing. Finally, Euphoria illustrates the crucial role of showrunner-auteurs for HBO and, more specifically, the function of transgressive trans characters in Sam Levinson’s auteur brand.","PeriodicalId":256176,"journal":{"name":"Global Storytelling: Journal of Digital and Moving Images","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-04-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130937790","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Hong Kong Unraveled: Social Media and the 2019 Protest Movement 香港解体:社交媒体和2019年抗议运动

Global Storytelling: Journal of Digital and Moving Images Pub Date : 2021-07-15 DOI: 10.3998/gs.830

Anonymous

引用次数: 0

China and the Film Festival 中国与电影节

Global Storytelling: Journal of Digital and Moving Images Pub Date : 2021-07-15 DOI: 10.3998/GS.829

Richard Peña

引用次数: 0

From Nations to Worlds: Chris Marker’s “Si j’avais quatre dromadaires” 从国家到世界:克里斯·马克的《如果我有四只骆驼》

Global Storytelling: Journal of Digital and Moving Images Pub Date : 2021-07-15 DOI: 10.3998/GS.856

Michaele C. Walsh

{"title":"From Nations to Worlds: Chris Marker’s “Si j’avais quatre dromadaires”","authors":"Michaele C. Walsh","doi":"10.3998/GS.856","DOIUrl":"https://doi.org/10.3998/GS.856","url":null,"abstract":"Si j’avais quatre dromadaires (If I had four dromedaries), Chris Marker’s underrated film of 1966, is a forty-nine-minute montage of seven hundred and fifty still photographs taken in twenty-five countries around the world. The film is a pivot-point in Marker’s work, the moment at which he passes from an implicit but insistent imagination of the world in terms of nations toward the global scope for which his later work is so celebrated. Before 1966, Marker had made films in six different countries and had edited volumes on two dozen countries in the Petite Planete series of travel guides. Si j’avais quatre dromadaires is the first of Marker’s international films, the first to pass across a cut from Pyongyang to Havana, from the Dead Sea to the Arctic Circle. Closely examining the film’s opening sequence and coda, the article proposes that Marker’s transition from nations to worlds can be understood as heralding an issue that still looms large in cultural criticism, the simultaneous thinkability and unthinkability of the world-system. Thinkability: on some accounts, economic production has been organized globally since the emergence of capitalist banking in the Renaissance, so that all any of us have ever known is a globalized economy. Unthinkability: we struggle to say anything meaningful about the planetary flow of capital, goods, people, and information, and if we are film scholars, it is not obvious that such questions even belong in our discipline. Yet, if we throw up our hands, we will find that these questions are thought for us, without our input. The article follows Marker’s passage from nations to worlds by following the prompts found in the formal strategies of the film, which may in turn enable us to connect the history of what Denning calls “the age of three worlds” to the philosophical understanding of “worlds” proposed by Badiou.","PeriodicalId":256176,"journal":{"name":"Global Storytelling: Journal of Digital and Moving Images","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122346447","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

“American Factory” and the Difficulties of Documenting Neoliberalism “美国工厂”和记录新自由主义的困难

Global Storytelling: Journal of Digital and Moving Images Pub Date : 2021-07-15 DOI: 10.3998/GS.857

P. Hitchcock

引用次数: 1