Mike Van Esler
Biographic Data
| ID | 3496496 |
|---|---|
| NAME | Mike Van Esler |
| GIVEN NAMES | Mike |
| FAMILY NAME | Van Esler |
| SIGNATURE | VAN ESLER M |
| AFFILIATIONS | University of Wisconsin–Oshkosh |
| ORCID | 0000-0001-6412-1192 |
| VERIFIED | Yes |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 9 |
| AUTHOR COUNT | 5 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2016 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 2 |
Syndication in a Fast world: Lineages and ruptures
The emergence of free ad-supported television (FAST) services has been growing in the streaming television market. In contrast with subscription video on demand (SVOD) services, FAST rely on library programming to draw in viewers. Functionally, this is an evolution of the linear television practice of syndication and remediates existing, successful television practices. Culturally, it serves to preserve several televisual heritages, including spe…
Direct-to-Video (On Demand): New Industrial and Cultural Valuations of Nontheatrical Film Releases
following the release of annihilation (2018) on Netflix in America, The Economist published a review titled “Is Netflix the New Straight-to-Video?” (NB). In it, the author takes note of a handful of other films that were dumped onto the subscription video-on-demand (SVOD) service over the past several years, including The Cloverfield Paradox (2018) and Mute (2018), after their distributors decided it would be more financially responsible to shunt…
In Plain Sight: Online TV Interfaces as Branding
Industrial discourses surrounding subscription video on demand (SVOD) services are deeply embedded in the rhetoric of viewer choice and control. However, these discourses are often misleading, with viewers given only nominal amounts of agency in their viewing experience, most often circumscribed by the limited affordances of the service’s interface. This article takes online TV interfaces as its object of study and interrogates to what ends SVODs…
Reproducing Television Canons: Streaming Services and the Legacy of Linear TV
Not Yet the Post-TV Era: Network and MVPD Adaptation to Emergent Distribution Technologies
Television as a medium is in transition. From DVRs, to Netflix, to HBO Now, consumers have never before had such control over how they consume televisual content. The rapid changes to the medium have led to rhetoric heralding the impending “post-TV era.” Looking at the ways that legacy television companies have adapted to new technologies and cultural practices suggests that rather than traditional television going the way of radio, television as…
In Plain Sight: Online TV Interfaces as Branding
Industrial discourses surrounding subscription video on demand (SVOD) services are deeply embedded in the rhetoric of viewer choice and control. However, these discourses are often misleading, with viewers given only nominal amounts of agency in their viewing experience, most often circumscribed by the limited affordances of the service’s interface. This article takes online TV interfaces as its object of study and interrogates to what ends SVODs…
Not Yet the Post-TV Era: Network and MVPD Adaptation to Emergent Distribution Technologies
Television as a medium is in transition. From DVRs, to Netflix, to HBO Now, consumers have never before had such control over how they consume televisual content. The rapid changes to the medium have led to rhetoric heralding the impending “post-TV era.” Looking at the ways that legacy television companies have adapted to new technologies and cultural practices suggests that rather than traditional television going the way of radio, television as…
Not Yet the Post-TV Era: Network and MVPD Adaptation to Emergent Distribution Technologies
Television as a medium is in transition. From DVRs, to Netflix, to HBO Now, consumers have never before had such control over how they consume televisual content. The rapid changes to the medium have led to rhetoric heralding the impending “post-TV era.” Looking at the ways that legacy television companies have adapted to new technologies and cultural practices suggests that rather than traditional television going the way of radio, television as…
In Plain Sight: Online TV Interfaces as Branding
Industrial discourses surrounding subscription video on demand (SVOD) services are deeply embedded in the rhetoric of viewer choice and control. However, these discourses are often misleading, with viewers given only nominal amounts of agency in their viewing experience, most often circumscribed by the limited affordances of the service’s interface. This article takes online TV interfaces as its object of study and interrogates to what ends SVODs…
Reproducing Television Canons: Streaming Services and the Legacy of Linear TV
Direct-to-Video (On Demand): New Industrial and Cultural Valuations of Nontheatrical Film Releases
following the release of annihilation (2018) on Netflix in America, The Economist published a review titled “Is Netflix the New Straight-to-Video?” (NB). In it, the author takes note of a handful of other films that were dumped onto the subscription video-on-demand (SVOD) service over the past several years, including The Cloverfield Paradox (2018) and Mute (2018), after their distributors decided it would be more financially responsible to shunt…
Syndication in a Fast world: Lineages and ruptures
The emergence of free ad-supported television (FAST) services has been growing in the streaming television market. In contrast with subscription video on demand (SVOD) services, FAST rely on library programming to draw in viewers. Functionally, this is an evolution of the linear television practice of syndication and remediates existing, successful television practices. Culturally, it serves to preserve several televisual heritages, including spe…
Business (4 works) · Sociology (4 works) · Advertising (3 works) · Computer Science (3 works) · Art (2 works) · Cinema and Media Studies (2 works) · Digital Games and Media (2 works) · Media studies (2 works) · Media Studies and Communication (2 works) · Political science (2 works)