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New Review of Film and Television Studies Volume 5, 2007 - Issue 1: TVIII
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Original Articles

INVITING AUDIENCES IN

The spatial reorganization of production and consumption in ‘TVIII’

Derek Johnson Communication Arts Department, University of Wisconsin, Madison, Vilas Hall, 6th Floor, 821 University Avenue, Madison, WI 53706 E-mail: [email protected]
Pages 61-80 | Published online: 23 Mar 2007

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Annemarie Navar-Gill. (2018) Fandom as symbolic patronage: expanding understanding of fan relationships with industry through the Veronica Mars Kickstarter campaign. Popular Communication 16:3, pages 211-224.
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Allain Daigle. (2015) (Post)Production: Classifications and Infrastructures of Digital Visual Effects. Critical Studies in Media Communication 32:3, pages 161-176.
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Thiam Huat Kam. (2013) Scripted affects, branded selves: television, subjectivity, and capitalism in 1990s Japan. Continuum 27:5, pages 759-762.
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Rebecca Williams. (2011) “This Is the Night TV Died”: Television Post-Object Fandom and the Demise of The West Wing . Popular Communication 9:4, pages 266-279.
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Rebecca Williams. (2010) Good Neighbours? Fan/producer relationships and the broadcasting field. Continuum 24:2, pages 279-289.
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Bertha Chin & Matt Hills. (2008) Restricted confessions? Blogging, subcultural celebrity and the management of producer–fan proximity. Social Semiotics 18:2, pages 253-272.
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Articles from other publishers (33)

Scott Jones, James Cronin & Maria G. Piacentini. (2022) Celebrity brand break-up: Fan experiences of para-loveshock. Journal of Business Research 145, pages 720-731.
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Anne Ganzert. 2021. Serienfragmente. Serienfragmente 135 152 .
Patrice PoujolPatrice Poujol. 2019. Online Film Production in China Using Blockchain and Smart Contracts. Online Film Production in China Using Blockchain and Smart Contracts 127 181 .
Patrice PoujolPatrice Poujol. 2019. Online Film Production in China Using Blockchain and Smart Contracts. Online Film Production in China Using Blockchain and Smart Contracts 11 67 .
Patrice PoujolPatrice Poujol. 2019. Online Film Production in China Using Blockchain and Smart Contracts. Online Film Production in China Using Blockchain and Smart Contracts 365 417 .
Cory Barker. (2016) “Great Shows, Thanks to You”: From Participatory Culture to “Quality TV” in Amazon’s Pilot Season. Television & New Media 18:5, pages 441-458.
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JP KellyJP Kelly. 2017. Time, Technology and Narrative Form in Contemporary US Television Drama. Time, Technology and Narrative Form in Contemporary US Television Drama 53 93 .
Oranit Klein Shagrir. (2015) Unveiling television’s apparatus on screen as a ‘para-interactive’ strategy. Media, Culture & Society 37:5, pages 737-752.
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Kit Hughes. (2014) ‘Work/place’ media: locating laboring audiences. Media, Culture & Society 36:5, pages 644-660.
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Dan Hassoun. (2012) Tracing Attentions. Television & New Media 15:4, pages 271-288.
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Sun Jung. 2014. Mediated Youth Cultures. Mediated Youth Cultures 114 129 .
Alan McKee. (2013) The power of art, the power of entertainment. Media, Culture & Society 35:6, pages 759-770.
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Leonie Rutherford & Adam Brown. (2012) The Australian Broadcasting Corporation’s multiplatform projects. Convergence: The International Journal of Research into New Media Technologies 19:2, pages 201-221.
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Bertha Chin. (2013) The fan-media producer collaboration. Science Fiction Film & Television 6:1, pages 87-99.
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Angie Knaggs. (2010) Prison Break General Gabbery . Television & New Media 12:5, pages 395-411.
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. 2011. Television as Digital Media. Television as Digital Media 359 372 .
James Bennett. 2011. Television as Digital Media. Television as Digital Media 332 357 .
Jean Burgess. 2011. Television as Digital Media. Television as Digital Media 311 331 .
John T. Caldwell. 2011. Television as Digital Media. Television as Digital Media 283 310 .
Jason Jacobs. 2011. Television as Digital Media. Television as Digital Media 255 280 .
Daniel Chamberlain. 2011. Television as Digital Media. Television as Digital Media 230 254 .
Max Dawson. 2011. Television as Digital Media. Television as Digital Media 204 229 .
Karen Lury. 2011. Television as Digital Media. Television as Digital Media 181 203 .
Jeanette Steemers. 2011. Television as Digital Media. Television as Digital Media 158 178 .
Niki Strange. 2011. Television as Digital Media. Television as Digital Media 132 157 .
Roberta Pearson. 2011. Television as Digital Media. Television as Digital Media 105 131 .
William Boddy. 2011. Television as Digital Media. Television as Digital Media 76 101 .
Julian Thomas. 2011. Television as Digital Media. Television as Digital Media 52 75 .
Graeme Turner. 2011. Television as Digital Media. Television as Digital Media 31 51 .
James Bennett. 2011. Television as Digital Media. Television as Digital Media 1 27 .
Brooke Erin Duffy. (2010) Empowerment Through Endorsement? Polysemic Meaning in Dove's User-Generated Advertising. Communication, Culture & Critique 3:1, pages 26-43.
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Susan Ward & Anna Potter. (2009) H 2 O : Just Add Branding: Producing High-Quality Children's TV Drama for Multi-Channel Environments . Media International Australia 133:1, pages 31-42.
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James Bennett & Niki Strange. (2008) The BBC's Second-Shift Aesthetics: Interactive Television, Multi-Platform Projects and Public Service Content for a Digital Era. Media International Australia 126:1, pages 106-119.
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