Alex Kupfer explores how the promotional films for Disney’s Golden Oak community blur distinctions between resident and fan, employee and family member
Theo Stojanov discusses the arrival of the game industry in Montreal, and its marketing to new workers.
Myles McNutt discusses how Los Angeles has been forced to rethink its approach to competing in a new television landscape characterized by mobile production
In the first-round introduction to our new Roundtable, Lawrence Webb uses the example of Amazon HQ2 to ask how urban corporate and residential relocation campaigns illuminate issues of citizenship and city branding, and poses questions to our participants
Floris Paalman takes a considered look at Thomas Elsaesser’s documentary Die Sonneninsel (The Sun Island). The construction of the European Central Bank on the site of Frankfurt’s former wholesale market – a building designed by Elsaesser’s grandfather, Martin – offers an opportunity to probe architectural and family history, in what Paalman terms “auto-media archaeology.”
In our continuing look back at the year that was 2017, Hunter Vaughan reflects on Margaret Atwood, The Handmaid’s Tale, and popular culture’s potential as a tool for social responsibility and engagement.
Concluding our look back at the year that was 2017, Amy Corbin reflects on the lessons learned from an evening at the cinema, and the audience conversation after a screening of Jay Dockendorf’s Naz & Maalik.
In our ongoing look at the year that was 2017, Nina Cartier calls our attention to a seemingly-ephemeral moment in the wake of one of the year’s biggest political surprises, exploring the racial and gender subtext of that time when Doug Jones taught us how to Dougie.
When is a punch more than just a punch? In the next installment of our look back at the year that was, Nathan Holmes reflects on the “important semiotic damage” of a prominent white supremacist getting punched in the face with cameras rolling.
Mediapolis opens the new year by looking at the one that’s just passed. Here, co-editor Brendan Kredell introduces the series and reflects on the changing tone of the journal in 2017.