Shawn Shimpach
Biographic Data
| ID | 79249 |
|---|---|
| NAME | Shawn Shimpach |
| GIVEN NAMES | Shawn |
| FAMILY NAME | Shimpach |
| SIGNATURE | SHIMPACH S |
| AFFILIATIONS | University of Massachusetts Amherst |
| VERIFIED | No |
| TOTAL WORKS | 12 |
| TOTAL CITATIONS | 28 |
| AUTHOR COUNT | 11 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 2002 |
| LATEST PUBLICATION YEAR | 2020 |
| H-INDEX | 2 |
What’s New
New media is of course the great disruptor. So, too, should be its study. Television Studies’ and Media Studies’ embrace of the “new” and their continuing focus on new media forms, practices, and technologies is not itself anything new. The new has a history and is, in fact, a historically specific category. All media were once new, the new regularly remediates the old, and because the “new” is a product and effect of industrial modernity, there …
The Routledge Companion to Global Television
Children’s screen media have recently undergone a period of rapid technological, regulatory and economic change, transforming the ways in which content is produced, distributed and experienced by audiences. Despite the perceived value of locally produced television that reflects children’s cultural context back to them, the production and distribution of children’s television is an increasingly globalised and complex business. The global dominanc…
“Only in this way is social progress possible”
Seeing people as audiences has a history. Our current ways of seeing people are especially indebted to the conjuncture of Progressive Era reform efforts, the early development of the social sciences, and the transformation of the cinema into a mass medium in the first decades of the twentieth century in the United States. One important convergence of all these historical developments was the Social Survey Movement, which, through its efforts to m…
Mad Men Is History
Having ceased production in 2015, Mad Men is history. It remains, however, an apt example of the ways in which television has lately been offering a great deal of history through its programming. Television offers accessible and inviting imaginaries of historical periods and events, yet this programming is marked by different theories of historiography and very different assumptions about the role and purpose of history than that which animates t…
“This Is What I Need, This Is What Will Travel”
Until recently, broadcast television in the US was premised on profits arising from expanding space (national distribution, national and international syndication) and from limiting time (the imposed scarcity of access). Technological and regulatory changes have meant that television producers have had (reluctantly) to acquiesce in basic changes to this formula. This chapter looks at four ways these changes have affected the production of televis…
Realty Reality
The American basic cable channel HGTV became the object of public scorn after the housing market became associated with the current and ongoing global financial crisis. While noting the ways in which this channel's programming has been complicit in the financialization of home ownership and the effacement of risk that continue to transform "dwelling" into "home" into "investment," this article takes the occasion of enmity foisted on HGTV as an op…
Viewing
This chapter contains sections titled: Viewing Nickelodeon: Unruly Social Space Classical Hollywood: The Gaze Broadcast Television: The Glance “New Media”: The User The Place of Viewing References
Television in Transition
Representing the Public of the Cinema’s Public Sphere
The emergence of Hollywood cinema is a significant moment in the history of modern media’s role in the changing conditions of equal participation in rational discourse idealized by Jürgen Habermas from eighteenth-century bourgeois public life (Habermas 1989; 2006 (2001, 1989)). On the one hand, as Miriam Hansen notes, ‘For Habermas, the industrial dissemination of cultural products is structurally incompatible with the possibility of public disco…
Working Watching
This article examines the audience for the products of the culture industries in the context of creative and cultural labor. It traces the history, multiple contemporary examples, and theorizations of the audience as a site of labor. It further interrogates the tension between this labor and the audience's hegemonic construction as an analytic category and object of knowledge. Finally, it argues for the political implications of explicitly foregr…
The Immortal Cosmopolitan
The 1990s, internationally co-produced, television series Highlander was an early, successful example of everyday television produced under the pressures of negotiating the dictates of internationally conceived agreements concerning culture, representation, finance, and circulation. This essay parallels an institutional analysis of the series with a textual analysis of its fictive world and characters to examine the series’ attempts to elide the …
A Review of Ronald Walter Greene, Malthusian Worlds
Malthus continues to haunt our future as the principle of population continues to define who we are in the present. The governing of procreation through the building of the population apparatus functions as an “othering machine” that differentiates each one of us around the norms and social categories of modern, healthy, and white. Although contributing to the differentiation of populations by allowing the act of reproduction to function as a for…
Realty Reality
The American basic cable channel HGTV became the object of public scorn after the housing market became associated with the current and ongoing global financial crisis. While noting the ways in which this channel's programming has been complicit in the financialization of home ownership and the effacement of risk that continue to transform "dwelling" into "home" into "investment," this article takes the occasion of enmity foisted on HGTV as an op…
Working Watching
This article examines the audience for the products of the culture industries in the context of creative and cultural labor. It traces the history, multiple contemporary examples, and theorizations of the audience as a site of labor. It further interrogates the tension between this labor and the audience's hegemonic construction as an analytic category and object of knowledge. Finally, it argues for the political implications of explicitly foregr…
What’s New
New media is of course the great disruptor. So, too, should be its study. Television Studies’ and Media Studies’ embrace of the “new” and their continuing focus on new media forms, practices, and technologies is not itself anything new. The new has a history and is, in fact, a historically specific category. All media were once new, the new regularly remediates the old, and because the “new” is a product and effect of industrial modernity, there …
A Review of Ronald Walter Greene, Malthusian Worlds
Malthus continues to haunt our future as the principle of population continues to define who we are in the present. The governing of procreation through the building of the population apparatus functions as an “othering machine” that differentiates each one of us around the norms and social categories of modern, healthy, and white. Although contributing to the differentiation of populations by allowing the act of reproduction to function as a for…
Working Watching
This article examines the audience for the products of the culture industries in the context of creative and cultural labor. It traces the history, multiple contemporary examples, and theorizations of the audience as a site of labor. It further interrogates the tension between this labor and the audience's hegemonic construction as an analytic category and object of knowledge. Finally, it argues for the political implications of explicitly foregr…
The Immortal Cosmopolitan
The 1990s, internationally co-produced, television series Highlander was an early, successful example of everyday television produced under the pressures of negotiating the dictates of internationally conceived agreements concerning culture, representation, finance, and circulation. This essay parallels an institutional analysis of the series with a textual analysis of its fictive world and characters to examine the series’ attempts to elide the …
Representing the Public of the Cinema’s Public Sphere
The emergence of Hollywood cinema is a significant moment in the history of modern media’s role in the changing conditions of equal participation in rational discourse idealized by Jürgen Habermas from eighteenth-century bourgeois public life (Habermas 1989; 2006 (2001, 1989)). On the one hand, as Miriam Hansen notes, ‘For Habermas, the industrial dissemination of cultural products is structurally incompatible with the possibility of public disco…
Television in Transition
Viewing
This chapter contains sections titled: Viewing Nickelodeon: Unruly Social Space Classical Hollywood: The Gaze Broadcast Television: The Glance “New Media”: The User The Place of Viewing References
“This Is What I Need, This Is What Will Travel”
Until recently, broadcast television in the US was premised on profits arising from expanding space (national distribution, national and international syndication) and from limiting time (the imposed scarcity of access). Technological and regulatory changes have meant that television producers have had (reluctantly) to acquiesce in basic changes to this formula. This chapter looks at four ways these changes have affected the production of televis…
Realty Reality
The American basic cable channel HGTV became the object of public scorn after the housing market became associated with the current and ongoing global financial crisis. While noting the ways in which this channel's programming has been complicit in the financialization of home ownership and the effacement of risk that continue to transform "dwelling" into "home" into "investment," this article takes the occasion of enmity foisted on HGTV as an op…
“Only in this way is social progress possible”
Seeing people as audiences has a history. Our current ways of seeing people are especially indebted to the conjuncture of Progressive Era reform efforts, the early development of the social sciences, and the transformation of the cinema into a mass medium in the first decades of the twentieth century in the United States. One important convergence of all these historical developments was the Social Survey Movement, which, through its efforts to m…
Mad Men Is History
Having ceased production in 2015, Mad Men is history. It remains, however, an apt example of the ways in which television has lately been offering a great deal of history through its programming. Television offers accessible and inviting imaginaries of historical periods and events, yet this programming is marked by different theories of historiography and very different assumptions about the role and purpose of history than that which animates t…
The Routledge Companion to Global Television
Children’s screen media have recently undergone a period of rapid technological, regulatory and economic change, transforming the ways in which content is produced, distributed and experienced by audiences. Despite the perceived value of locally produced television that reflects children’s cultural context back to them, the production and distribution of children’s television is an increasingly globalised and complex business. The global dominanc…
What’s New
New media is of course the great disruptor. So, too, should be its study. Television Studies’ and Media Studies’ embrace of the “new” and their continuing focus on new media forms, practices, and technologies is not itself anything new. The new has a history and is, in fact, a historically specific category. All media were once new, the new regularly remediates the old, and because the “new” is a product and effect of industrial modernity, there …
Political science (8 works) · Sociology (8 works) · Media studies (7 works) · Law (6 works) · Art (5 works) · Politics (5 works) · Aesthetics (4 works) · History (4 works) · Media Studies and Communication (4 works) · Art history (3 works)