MIT Graduate Program in Comparative Media Studies
Studying Media and Making Media
David Milch will discuss his career as a writer and creator, including of Hill Street Blues, NYPD Blue (co-created with Steven Bochco), and the pioneering HBO series Deadwood.
The conference will consider developments such as user-generated content, transmedia storytelling, the rise of mobile media and the emergence of social networking.
Katie Jacobs is co-showrunner of the hit NBC series House, M.D., nominated for two consecutive seasons for the Emmy Award for Best Drama Series.
Right-wing broadcasting was reborn when Reagan suspended the Fairness Doctrine in 1987, enabling the rise of Rush Limbaugh, and Fox News shortly thereafter.
Otto Santa Anna presents findings from his book, Juan in a Hundred: Faces and Stories of Latinos on the Network News.
This year's event, Nov. 9-10 at MIT, will look at how media producers and audiences are relating to one another in new ways in a spreadable media landscape.
UCSB's Michael Curtin explores the implications of national cultural policy within the broader context of media globalization.
Middlebury's Jason Mittell on how television narratives have expanded and been complicated through transmedia extensions, including video games, novelizations, websites, online video, and alternate reality games.
Susan Murray on the discourses that framed and managed color use and reception not only in the standardization period, but also during RCA and NBC's early attempts to sell color to consumers, sponsors, and critics.
How did political TV and radio move from honest intellectual combat to become a vast echo chamber? Heather Hendershot will answer this difficult question.
Amanda Lotz on what transpired when the long anticipated face off between "new media" and television finally took place in 2010.
Lisa Parks is interested both in the discourses that have been used to expose covert US drone interventions and in the ways that drone operations themselves function as technologies of mediation.
When the Ad Council bombarded television viewers with messages on economic literacy, was it information or propaganda? One way to answer that question is to look at corporate managers and executives as consequential social actors.
What is it that makes watching so-called “trashy TV” so fun? What does it mean for a film to be “so bad it’s good?”
This talk by Anne-Katrin Weber explores the politics of CCTV, highlighting the adaptability of closed-circuit technologies, which accommodate to, and underpin variable contexts of media participation as well as of surveillance and control.
