Denise Mann - Academia.edu (original) (raw)
Papers by Denise Mann
Rutgers University Press eBooks, Dec 31, 2019
entertainment has created a power vacuum, prompting a number of virtual entrepreneurs to look for... more entertainment has created a power vacuum, prompting a number of virtual entrepreneurs to look for alternative ways to monetize online media. This essay examines the "transmedia " industries and multichannel networks as transitional workspaces—innovative new forms of industrial organization, emerging forms of creative work, new technologies and economic models, and creative relations among consumers, marketers, and producers. A number of cultural industries scholars are engaged in productive critiques of digital media labor practices.2 In contrast, humanities-based critical and cultural studies scholars tend to ignore the economic realities of web-based production, focusing instead on the unpaid (albeit volunteer) labor of fans. Far fewer consider the more widespread, invisible labor associated with the wholesale data mining of consumer preferences that are being sold en masse to advertisers by major internet technology companies like Google and Facebook. Even fewer explore...
SAGE Publications Ltd eBooks, 2023
Quarterly Review of Film and Video, 1989
... LYNN SPIGEL is an assistant professor of Communication Arts at the University of Wisconsin-Ma... more ... LYNN SPIGEL is an assistant professor of Communication Arts at the University of Wisconsin-Madison, and author of the forthcoming book, Installing the Television Set. ... 190-205. Browne, RayB., and Marshall Fishwick, eds. Icons of America. ...
Camera Obscura: Feminism, Culture, and Media Studies, 1988
Camera Obscura: Feminism, Culture, and Media Studies, 1984
Wired TV, 2019
This collection looks at the postnetwork television industrys heady experiments with new forms of... more This collection looks at the postnetwork television industrys heady experiments with new forms of interactive storytellingor wired TVthat took place from 2005 to 2010 as the networks responded to the introduction of broadband into the majority of homes and the proliferation of popular, participatory Web 2.0 companies like Facebook, YouTube, and Twitter.Contributors address a wide range of issues, from the networks sporadic efforts to engage fans using transmedia storytelling to the production inefficiencies that continue to dog network television to the impact of multimedia convergence and multinational, corporate conglomeration on entrepreneurial creativity. With essays from such top scholars as Henry Jenkins, John T. Caldwell, and Jonathan Gray and from new and exciting voices emerging in this field, Wired TV elucidates the myriad new digital threats and the equal number of digital opportunities that have become part and parcel of todays post-network era. Readers will quickly recognize the familiar television franchises on which the contributors focus including Lost, The Office, Entourage, Battlestar Gallactica, The L Word, and Heroesin order to reveal their impact on an industry in transition.While it is not easy for vast bureaucracies to change course, executives from key network divisions engaged in an unprecedented period of innovation and collaboration with four important groups: members of the Hollywood creative community who wanted to expand televisions storytelling worlds and marketing capabilities by incorporating social media; members of the Silicon Valley tech community who were keen to rethink television distribution for the digital era; members of the Madison Avenue advertising community who were eager to rethink ad-supported content; and fans who were enthusiastic and willing to use social media story extensions to proselytize on behalf of a favorite network series.In the aftermath of the lengthy Writers Guild of America strike of 2007/2008, the networks clamped down on such collaborations and began to reclaim control over their operations, locking themselves back into an aging system of interconnected bureaucracies, entrenched hierarchies, and traditional partners from the past. Whats next for the future of the television industry? Stay tunedor at least online.Contributors: Vincent Brook, Will Brooker, John T. Caldwell, M. J. Clarke, Jonathan Gray, Henry Jenkins, Derek Johnson, Robert V. Kozinets, Denise Mann, Katynka Z. Martnez, and Julie Levin Russo
Media Industries Journal
An impasse between Hollywood and Silicon Valley over streaming rights to home entertainment has c... more An impasse between Hollywood and Silicon Valley over streaming rights to home entertainment has created a power vacuum, prompting a number of virtual entrepreneurs to look for alternative ways to monetize online media. This essay examines the "transmedia" industries and multichannel networks as transitional workspaces-innovative new forms of industrial organization, emerging forms of creative work, new technologies and economic models, and creative relations among consumers, marketers, and producers. A number of cultural industries scholars are engaged in productive critiques of digital media labor practices. 2 In contrast, humanities-based critical and cultural studies scholars tend to ignore the economic realities of web-based production, focusing instead on the unpaid (albeit volunteer) labor of fans. Far fewer consider the more widespread, invisible labor associated with the wholesale data mining of consumer preferences that are being sold en masse to advertisers by major internet technology companies like Google and Facebook. Even fewer explore the paradox of YouTube talent partners, who eschew deals with Hollywood to avoid creative interference but tolerate Faustian deals with Google to profit from surveillance-based advertising.
... The interactions between the "glamorous" movie star and the &am... more ... The interactions between the "glamorous" movie star and the "everyday" television character encouraged women ... form departs from the storytelling conventions of the classical Hollywoodfilm, wedding se ... this time an event embedded in the unconscious of the female charac-ter ...
Choice Reviews Online
This collection looks at the postnetwork television industrys heady experiments with new forms of... more This collection looks at the postnetwork television industrys heady experiments with new forms of interactive storytellingor wired TVthat took place from 2005 to 2010 as the networks responded to the introduction of broadband into the majority of homes and the proliferation of popular, participatory Web 2.0 companies like Facebook, YouTube, and Twitter.Contributors address a wide range of issues, from the networks sporadic efforts to engage fans using transmedia storytelling to the production inefficiencies that continue to dog network television to the impact of multimedia convergence and multinational, corporate conglomeration on entrepreneurial creativity. With essays from such top scholars as Henry Jenkins, John T. Caldwell, and Jonathan Gray and from new and exciting voices emerging in this field, Wired TV elucidates the myriad new digital threats and the equal number of digital opportunities that have become part and parcel of todays post-network era. Readers will quickly recognize the familiar television franchises on which the contributors focus including Lost, The Office, Entourage, Battlestar Gallactica, The L Word, and Heroesin order to reveal their impact on an industry in transition.While it is not easy for vast bureaucracies to change course, executives from key network divisions engaged in an unprecedented period of innovation and collaboration with four important groups: members of the Hollywood creative community who wanted to expand televisions storytelling worlds and marketing capabilities by incorporating social media; members of the Silicon Valley tech community who were keen to rethink television distribution for the digital era; members of the Madison Avenue advertising community who were eager to rethink ad-supported content; and fans who were enthusiastic and willing to use social media story extensions to proselytize on behalf of a favorite network series.In the aftermath of the lengthy Writers Guild of America strike of 2007/2008, the networks clamped down on such collaborations and began to reclaim control over their operations, locking themselves back into an aging system of interconnected bureaucracies, entrenched hierarchies, and traditional partners from the past. Whats next for the future of the television industry? Stay tunedor at least online.Contributors: Vincent Brook, Will Brooker, John T. Caldwell, M. J. Clarke, Jonathan Gray, Henry Jenkins, Derek Johnson, Robert V. Kozinets, Denise Mann, Katynka Z. Martnez, and Julie Levin Russo
Vicki Mayer, Miranda J. Banks and John Thornton …, 2009
Journal of Popular Film and Television, 2010
Quarterly Review of Film and Video, 1989
Maureen Honey. Creating Rosie the Riveter: Class, Gender and Propaganda During World War II. Amhe... more Maureen Honey. Creating Rosie the Riveter: Class, Gender and Propaganda During World War II. Amherst: University of Massachusetts Press, 1984. 251 pp. 20.00cloth.20.00 cloth. 20.00cloth.9.95 paper.
Rutgers University Press eBooks, Dec 31, 2019
entertainment has created a power vacuum, prompting a number of virtual entrepreneurs to look for... more entertainment has created a power vacuum, prompting a number of virtual entrepreneurs to look for alternative ways to monetize online media. This essay examines the "transmedia " industries and multichannel networks as transitional workspaces—innovative new forms of industrial organization, emerging forms of creative work, new technologies and economic models, and creative relations among consumers, marketers, and producers. A number of cultural industries scholars are engaged in productive critiques of digital media labor practices.2 In contrast, humanities-based critical and cultural studies scholars tend to ignore the economic realities of web-based production, focusing instead on the unpaid (albeit volunteer) labor of fans. Far fewer consider the more widespread, invisible labor associated with the wholesale data mining of consumer preferences that are being sold en masse to advertisers by major internet technology companies like Google and Facebook. Even fewer explore...
SAGE Publications Ltd eBooks, 2023
Quarterly Review of Film and Video, 1989
... LYNN SPIGEL is an assistant professor of Communication Arts at the University of Wisconsin-Ma... more ... LYNN SPIGEL is an assistant professor of Communication Arts at the University of Wisconsin-Madison, and author of the forthcoming book, Installing the Television Set. ... 190-205. Browne, RayB., and Marshall Fishwick, eds. Icons of America. ...
Camera Obscura: Feminism, Culture, and Media Studies, 1988
Camera Obscura: Feminism, Culture, and Media Studies, 1984
Wired TV, 2019
This collection looks at the postnetwork television industrys heady experiments with new forms of... more This collection looks at the postnetwork television industrys heady experiments with new forms of interactive storytellingor wired TVthat took place from 2005 to 2010 as the networks responded to the introduction of broadband into the majority of homes and the proliferation of popular, participatory Web 2.0 companies like Facebook, YouTube, and Twitter.Contributors address a wide range of issues, from the networks sporadic efforts to engage fans using transmedia storytelling to the production inefficiencies that continue to dog network television to the impact of multimedia convergence and multinational, corporate conglomeration on entrepreneurial creativity. With essays from such top scholars as Henry Jenkins, John T. Caldwell, and Jonathan Gray and from new and exciting voices emerging in this field, Wired TV elucidates the myriad new digital threats and the equal number of digital opportunities that have become part and parcel of todays post-network era. Readers will quickly recognize the familiar television franchises on which the contributors focus including Lost, The Office, Entourage, Battlestar Gallactica, The L Word, and Heroesin order to reveal their impact on an industry in transition.While it is not easy for vast bureaucracies to change course, executives from key network divisions engaged in an unprecedented period of innovation and collaboration with four important groups: members of the Hollywood creative community who wanted to expand televisions storytelling worlds and marketing capabilities by incorporating social media; members of the Silicon Valley tech community who were keen to rethink television distribution for the digital era; members of the Madison Avenue advertising community who were eager to rethink ad-supported content; and fans who were enthusiastic and willing to use social media story extensions to proselytize on behalf of a favorite network series.In the aftermath of the lengthy Writers Guild of America strike of 2007/2008, the networks clamped down on such collaborations and began to reclaim control over their operations, locking themselves back into an aging system of interconnected bureaucracies, entrenched hierarchies, and traditional partners from the past. Whats next for the future of the television industry? Stay tunedor at least online.Contributors: Vincent Brook, Will Brooker, John T. Caldwell, M. J. Clarke, Jonathan Gray, Henry Jenkins, Derek Johnson, Robert V. Kozinets, Denise Mann, Katynka Z. Martnez, and Julie Levin Russo
Media Industries Journal
An impasse between Hollywood and Silicon Valley over streaming rights to home entertainment has c... more An impasse between Hollywood and Silicon Valley over streaming rights to home entertainment has created a power vacuum, prompting a number of virtual entrepreneurs to look for alternative ways to monetize online media. This essay examines the "transmedia" industries and multichannel networks as transitional workspaces-innovative new forms of industrial organization, emerging forms of creative work, new technologies and economic models, and creative relations among consumers, marketers, and producers. A number of cultural industries scholars are engaged in productive critiques of digital media labor practices. 2 In contrast, humanities-based critical and cultural studies scholars tend to ignore the economic realities of web-based production, focusing instead on the unpaid (albeit volunteer) labor of fans. Far fewer consider the more widespread, invisible labor associated with the wholesale data mining of consumer preferences that are being sold en masse to advertisers by major internet technology companies like Google and Facebook. Even fewer explore the paradox of YouTube talent partners, who eschew deals with Hollywood to avoid creative interference but tolerate Faustian deals with Google to profit from surveillance-based advertising.
... The interactions between the "glamorous" movie star and the &am... more ... The interactions between the "glamorous" movie star and the "everyday" television character encouraged women ... form departs from the storytelling conventions of the classical Hollywoodfilm, wedding se ... this time an event embedded in the unconscious of the female charac-ter ...
Choice Reviews Online
This collection looks at the postnetwork television industrys heady experiments with new forms of... more This collection looks at the postnetwork television industrys heady experiments with new forms of interactive storytellingor wired TVthat took place from 2005 to 2010 as the networks responded to the introduction of broadband into the majority of homes and the proliferation of popular, participatory Web 2.0 companies like Facebook, YouTube, and Twitter.Contributors address a wide range of issues, from the networks sporadic efforts to engage fans using transmedia storytelling to the production inefficiencies that continue to dog network television to the impact of multimedia convergence and multinational, corporate conglomeration on entrepreneurial creativity. With essays from such top scholars as Henry Jenkins, John T. Caldwell, and Jonathan Gray and from new and exciting voices emerging in this field, Wired TV elucidates the myriad new digital threats and the equal number of digital opportunities that have become part and parcel of todays post-network era. Readers will quickly recognize the familiar television franchises on which the contributors focus including Lost, The Office, Entourage, Battlestar Gallactica, The L Word, and Heroesin order to reveal their impact on an industry in transition.While it is not easy for vast bureaucracies to change course, executives from key network divisions engaged in an unprecedented period of innovation and collaboration with four important groups: members of the Hollywood creative community who wanted to expand televisions storytelling worlds and marketing capabilities by incorporating social media; members of the Silicon Valley tech community who were keen to rethink television distribution for the digital era; members of the Madison Avenue advertising community who were eager to rethink ad-supported content; and fans who were enthusiastic and willing to use social media story extensions to proselytize on behalf of a favorite network series.In the aftermath of the lengthy Writers Guild of America strike of 2007/2008, the networks clamped down on such collaborations and began to reclaim control over their operations, locking themselves back into an aging system of interconnected bureaucracies, entrenched hierarchies, and traditional partners from the past. Whats next for the future of the television industry? Stay tunedor at least online.Contributors: Vincent Brook, Will Brooker, John T. Caldwell, M. J. Clarke, Jonathan Gray, Henry Jenkins, Derek Johnson, Robert V. Kozinets, Denise Mann, Katynka Z. Martnez, and Julie Levin Russo
Vicki Mayer, Miranda J. Banks and John Thornton …, 2009
Journal of Popular Film and Television, 2010
Quarterly Review of Film and Video, 1989
Maureen Honey. Creating Rosie the Riveter: Class, Gender and Propaganda During World War II. Amhe... more Maureen Honey. Creating Rosie the Riveter: Class, Gender and Propaganda During World War II. Amherst: University of Massachusetts Press, 1984. 251 pp. 20.00cloth.20.00 cloth. 20.00cloth.9.95 paper.