Deep Dives | Mediapolis

Deep Dives, no. 2, vol. 4July 9, 2019

Landscape as Loneliness in The Last Picture Show

By Daryl Meador

The Last Picture Show (Bogdonavich, 1971) begins and ends with the same shot: a pan across a vacant Texas town that seems all but forgotten, its main street marked only with a single trafficlight that sways from a flimsy wire …

Deep Dives, no. 1, Revise and Extend, vol. 4February 18, 2019

Race, Place, and New Orleans in Film and Television

By Helen Morgan-Parmett

[Ed. note: This post is adapted from the author’s keynote address for the Media & Communication Geography Specialty Interest Group at the American Association of Geographers Annual Meeting, 12 April 2018.]

New Orleans in film and television figures …

Deep Dives, no. 1, vol. 3February 28, 2018

The Urban Light Art Festival as Branding and Commons

By Annie Dell'Aria

The modernist imagination often filled the city of the future with an abundance of nocturnal urban lights. Massive screens, searchlights, illuminated facades, and other electric lights crowd the mise-en-scene of science fiction films and speculative renderings of the metropolis of …

Deep Dives, no. 3, vol. 2September 15, 2017

The Truth is Outsourcing: Notes on the Post-Industrial Spaces of The X-Files

By Kirk Boyle

Any mass media phenomenon as big as The X-Files, the hit television series that initially aired on Fox from 1993 to 2002, will serve as a cultural Rorschach Test. How critics read X-Files will tell us as much about …

Deep Dives, no. 5, vol. 1December 28, 2016

There Goes the Neighborhood: CenturyLink Field and the Transformation of Seattle’s SoDo Neighborhood

By Helen Morgan Parmett & Kate Ranachan

While attending the 2014 Society for Cinema and Media Studies conference in Seattle, we – unintentionally – booked a hotel next to CenturyLink Field. Wandering around the stadium itself and the surrounding neighborhood, …