Show sold separately: Promos, spoilers, and other media paratexts

Show Sold Separately: Promos, Spoilers, and Other Media Paratexts

Volumn , Issue , 2010, Pages 1-247

  Gray, Jonathan ^a  

^a UNIVERSITY OF WISCONSIN MADISON   (United States)

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[No Author keywords available]

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EID: 84900587108     PISSN: None     EISSN: None     Source Type: Book    
DOI: None     Document Type: Book

References (264)

1. For more, see Shanto Iyengar, Is Anyone Responsible? How Television Frames Political Issues (Chicago: University of Chicago Press, 1994);.
2. Karen S. Johnson-Cartee, News Narratives and News Framing: Constructing Political Reality (Lanham, MD: Rowman & Littlefield, 2004);.
3. Diana Kendall, Framing Class:Media Representations of Wealth and Poverty in America (Lanham, MD: Rowman & Littlefield, 2005).
4. Charles Acland, Screen Traffic: Movies, Multiplexes, and Global Culture (Durham, NC: Duke University Press, 2003), 46.
5. Gerard Genette, Paratexts: The Thresholds of Interpretation, trans. Jane E. Lewin (Cambridge: Cambridge University Press, 1997).
6. Julia Kristeva, Desire in Language: A Semiotic Approach to Literature and Art, trans. Thomas Gora et al., ed. Leon Roudiez (Oxford: Basil Blackwell, 1980), 36.
7. Tad Friend, "The Cobra: Inside a Movie Marketer's Playbook," The New Yorker, January 19, 2009, pp. 41, 46.
8. Kristin Thompson, The Frodo Franchise: The Lord of the Rings and Modern Hollywood (Berkeley: University of California Press, 2007), 223.
9. Janet Wasko, How Hollywood Works (Thousand Oaks, CA: Sage, 2003), 130.
10. Amanda Lotz, The Television Will Be Revolutionized (New York: New York University Press, 2007), 108-9.
11. Wasko, How Hollywood Works, 164, 162, 166.
12. John Thornton Caldwell, Production Culture: Industrial Reflexivity and Critical Practice in Film and Television (Durham, NC: Duke University Press, 2008).
13. See Kevin Glynn, "Bartmania: The Social Reception of an Unruly Image," Camera Obscura: Feminism, Culture, and Media Studies 38 (1996): 61-91;.
14. Peter Parisi, "'Black Bart' Simpson: Appropriation and Revitalization in Commodity Culture," Journal of Popular Culture 27.1 (1993): 125-42.
15. Quoted in Vincent Brook, "Myth or Consequences: Ideological Fault Lines in The Simpsons," in Leaving Springfield: The Simpsons and the Possibility of Oppositional Culture, ed. John Alberti (Detroit: Wayne State University Press, 2004), 178.
16. "Archbishop 'May Star in Simpsons,'" BBC News, June 20, 2004, archived at http://news.bbc.co.uk/1/hi/entertainment/tv_and_radio/3823541.stm.
17. Jonathan Gray, Watching with The Simpsons: Television, Parody, and Intertextuality (New York: Routledge, 2006).
18. Matthew P. McAllister, "From Lard Lad to Butterfinger: Contradictions of The Simpsons in Promotional and Commercial Culture," paper presented at International Communication Association conference, New Orleans, LA, 2004.
19. Thomas Elsaesser, "The Blockbuster: Everything Connects, But Not Everything Goes," in The End of Cinema as We Know It, ed. Jon Lewis (New York: New York University Press, 2002), 16.
20. Roger Silverstone, Why Study the Media? (Thousand Oaks, CA: Sage, 1999), 55.
21. Genette, Paratexts, 3.
22. Celia Lury and Alan Warde, "Investments in the Imaginary Consumer:Conjectures Regarding Power, Knowledge and Advertising," in Buy This Book, ed. Mica Nava et al. (New York: Routledge, 1997), 90.
23. Sut Jhally, The Codes of Advertising: Fetishism and the Political Economy of Meaning in the Consumer Society (New York: Routledge, 1987), 51.
24. Judith Williamson, Decoding Advertisements: Ideology and Meaning (London:Marion Boyars, 1978), 79.
25. Gillian Dyer, Advertising as Communication (New York: Routledge, 1982), 116-17.
26. Victoria Johnson, Heartland TV: Prime Time Television and the Struggle for U.S. Identity (New York: New York University Press, 2008), 78-79.
27. Roland Barthes, "From Work to Text," in Image/Music/Text, trans. Stephen Heath (Glasgow: Fontana-Collins, 1977), 157.
28. Valentin Nikolaevic Volosinov, Marxism and the Philosophy of Language, trans. Ladislav Metejka and I. R. Titunik (London: Seminar, 1973), 82, 72.
29. Michael Riffaterre, "Compulsory Reader Response: The Intertextual Drive," in Intertextuality: Theories and Practices, ed. Michael Worton and Judith Still (Manchester: Manchester University Press, 1990), 76.
30. Michael Riffaterre, "Interpretation and Undecidability," New Literary History 12 (1981): 227.
31. Michael Iampolski, The Memory of Tiresias: Intertextuality and Film, trans. Harsha Ram (Berkeley: University of California Press, 1998), 2.
32. Kristeva, Desire in Language, 66.
33. Iampolski, Memory of Tiresias, 3.
34. Stanley Fish, Is There a Text in This Class? The Authority of Interpretive Communities (Cambridge, MA: Harvard University Press, 1980), 268, 274.
35. Laurent Jenny, "The Strategy of Form" trans. R. Carter, in French Literary Theory Today: A Reader, ed. Tzvetan Todorov (Cambridge: Cambridge University Press, 1982), 34-63;.
36. see also Ferdinand de Saussure, Course in General Linguistics, trans. Wade Baskin, ed. Charles Bally and Albert Sechehaye (London: McGraw-Hill, 1983).
37. Jenny, "Strategy of Form," 59.
38. Tony Bennett and Janet Woollacott, Bond and Beyond: The Political Career of a Popular Hero (London: Macmillan, 1987), 44.
39. Jason Mittell, Genre and Television: From Cop Shows to Cartoons in American Culture (New York: Routledge, 2004), 9.
40. Stephen Neale, Genre (London: British Film Institute, 1980), 19.
41. Lynn Spigel, Make Room for TV: Television and the Family Ideal in Postwar America (Berkeley: University of California Press, 1992).
42. See Barbara Klinger, Beyond the Multiplex: Cinema, New Technologies, and the Home (Berkeley: University of California Press, 2006).
43. Martin Barker, Jane Arthurs, and Ramaswami Harindranath, The Crash Controversy:Censorship Campaigns and Film Reception (New York: Wallflower, 2001).
44. Janet Staiger, Interpreting Films: Studies in the Historical Reception of American Cinema (Princeton, NJ: Princeton University Press, 1992), 39.
45. David Buckingham, Public Secrets: East Enders and Its Audience (London:British Film Institute, 1987).
46. C. Lee Harrington and Denise Bielby, Soap Fans: Pursuing Pleasure and Making Meaning in Everyday Life (Philadelphia: Temple University Press, 1996), 66.
47. Robert C. Allen, "Home Alone Together: Hollywood and the 'Family Film,'" in Identifying Hollywood's Audiences: Cultural Identity and the Movies, ed. Melvyn Stokes and Richard Maltby (London: British Film Institute, 1999), 119, 123, 119.
48. Friend, "The Cobra," 49.
49. Will Brooker, "Living on Dawson's Creek: Teen Viewers, Cultural Convergence and Television Overflow," International Journal of Cultural Studies 4.4 (2001): 456-57.
50. Henry Jenkins, Convergence Culture: Where Old and New Media Collide (New York: New York University Press, 2006).
51. Fish, Is There a Text in This Class? 5.
52. Stanley Fish, "Literature in the Reader: Affective Stylistics," in Reader-Response Criticism: From Formalism to Post-Structuralism, ed. Jane Tompkins (Baltimore: Johns Hopkins University Press, 1980), 83, 74.
53. Wolfgang Iser, "The Reading Process: A Phenomenological Approach," in Reader-Response Criticism: From Formalism to Post-Structuralism, ed. Jane Tompkins (Baltimore: Johns Hopkins University Press, 1980), 56.
54. Wolfgang Iser, The Act of Reading: A Theory of Aesthetic Response (London:Routledge and Kegan Paul, 1978), 112, 18.
55. See Gray, Watching with The Simpsons, chap. 3.
56. See also Will Brooker, "Television out of Time: Watching Cult Shows on Download," in Reading Lost: Perspectives on a Hit Show, ed. Roberta E. Pearson (New York: I. B. Tauris, 2008), 53-78.
57. Will Brooker, Using the Force: Creativity, Community and Star Wars Fans (New York: Continuum, 2002).
58. Matt Hills, Fan Cultures (New York: Routledge, 2002), 142.
59. Annette Kuhn, "'That Day Did Last Me All My Life': Cinema Memory and Enduring Fandom," in Identifying Hollywood's Audiences: Cultural Identity and the Movies, ed. Melvyn Stokes and Richard Maltby (London: British Film Institute, 1999), 136, 145.
60. Quoted in Katerina Clark and Michael Holquist, Mikhail Bakhtin (Cambridge, MA: Harvard University Press, 1984), 350.
61. See Johnson, Heartland TV, chap. 6;.
62. Barbie Zelizer, Covering the Body: The Kennedy Assassination, the Media, and the Shaping of Collective Memory (Chicago:University of Chicago Press, 1992), 151-52.
63. Scott Dikkers, ed., Our Dumb Century: The Onion Presents 100 Years of Headlines from America's Finest News Source (New York: Three Rivers, 1999), 13.
64. Jonathan Gray, "New Audiences, New Textualities: Anti-Fans and Non-Fans," International Journal of Cultural Studies 6.1 (March 2003): 64-81.
65. Friend, "The Cobra," 41.
66. Wasko, How Hollywood Works, 198.
67. John Ellis, Visible Fictions: Cinema: Television: Video (New York: Routledge, 1993), 54.
68. Acland, Screen Traffic, 23.
69. Friend, "The Cobra," 44.
70. Lisa Kernan, Coming Attractions: Reading American Movie Trailers (Austin:University of Texas Press, 2004), 53.
71. See Tom Gunning, "The Cinema of Attractions: Early Film, Its Spectator and the Avant-Garde," in Early Cinema: Space, Frame, Narrative, ed. Thomas Elsaesser and Adam Barker (London: British Film Institute, 1990), 56-62.
72. Kernan, Coming Attractions, 1, 2.
73. See Rick Altman, Film/Genre (London: British Film Institute, 1999);.
74. Stephen Neale, Genre and Hollywood (New York: Routledge, 2000).
75. Mittell, Genre and Television, xi, 36.
76. Kernan, Coming Attractions, 178.
77. Andrew Wernick, Promotional Culture: Advertising, Ideology and Symbolic Expression (Newbury Park, CA: Sage, 1991), 12.
78. Kurt Lancaster, "Immersion through an Interface in The Blair Witch Project," in Performing the Force: Essays on Immersion into Science Fiction, Fantasy and Horror Environments, ed. Kurt Lancaster and Tom Micotowicz (Jefferson, NC: McFarland, 2001), 117-23.
79. Virginia Heffernan, "Serendipitous Connections in the City of Separate Lives," New York Times, September 21, 2006, archived at http://www.nytimes. com/2006/09/21/arts/television/21heff.html?ei=5070&en=f7275d1b34d1f7bd&ex=1159588800&pagewanted=print.
80. Lotz, "The Promotional Role," 11.
81. Lotz, "How to Spend $9.3 Billion," 549.
82. See http://www.youtube.com/watch?v=sfout_rgPSA.
83. See http://www.youtube.com/watch?v=x25jVzVP1bY.
84. Lynn Spigel, "From the Dark Ages to the Golden Age: Women's Memories and Television Reruns," Screen 36.1 (1995): 16-33.
85. Dan Harries, Film Parody (London: British Film Institute, 2000), 107.
86. Derek Kompare, Rerun Nation: How Repeats Invented American Television (New York: Routledge, 2005), 104.
87. Mittell, Genre and Television, 57.
88. Michel Foucault, "What Is an Author?" in Textual Strategies: Perspectives in Post-Structuralist Criticism, ed. Josué V. Harari (London: Methuen, 1980), 150.
89. Stuart Hall, "Encoding, Decoding," in Culture, Media, Language: Working Papers in Cultural Studies, 1972-1979, ed. Stuart Hall et al. (London: Unwin Hyman, 1980), 128-38.
90. David Morley, "The Nationwide Audience: A Critical Postscript," Screen Education 39 (1981): 6.
91. Justin Lewis, "The Encoding/Decoding Model: Criticisms and Redevelopments for Research on Decoding," Media, Culture and Society 5 (1983): 184.
92. Raymond Williams, Television: Technology and Cultural Form (London:Fontana/Collins, 1974), 86, 90.
93. David Johansson, "Homeward Bound: Those Sopranos Titles Come Heavy," in Reading The Sopranos: Hit TV from HBO, ed. David Lavery (New York: I. B. Tauris, 2006), 31.
94. Roland Barthes, Mythologies, trans. Annette Lavers (St. Albans: Paladin, 1973).
95. Johnson, Heartland TV, 133-34.
96. Tony Bennett, Formalism and Marxism (London: Routledge, 1979), 173.
97. See Todd Gitlin, Inside Prime Time, rev. ed. (New York: Routledge, 1994).
98. Walter Benjamin, "The Work of Art in the Age of Mechanical Reproduction," in Illuminations, trans. Harry Zohn (New York: Schocken, 1969), 221.
99. Roland Barthes, "The Death of the Author," in Image/Music/Text, trans. Stephen Heath (Glasgow: Fontana-Collins, 1977), 142-48.
100. Laurie Ouellette and James Hay, Better Living through Reality TV: Television and Post-Welfare Citizenship (Malden, MA: Blackwell, 2008), 17.
101. Ouellette and Hay, Better Living, 87-88.
102. Roberto Rocha, "DVD Sales Grow, Buck Trend of CDs," National Post, July 17, 2008, archived at http://www.nationalpost.com/related/topics/story. html?id=661557.
103. Robert Alan Brookey and Robert Westerfelhaus, "Hiding Homoeroticism in Plain View: The Fight Club DVD as Digital Closet," Critical Studies in Media Communication 19.1 (March 2002): 23.
104. Klinger, Beyond the Multiplex, 72.
105. Brookey and Westerfelhaus, "Hiding Homoeroticism," 23.
106. Brookey and Westerfelhaus, "Hiding Homoeroticism," 23.
107. P. David Marshall, "The New Intertextual Commodity," in The New Media Book, ed. Dan Harries (London: British Film Institute, 2000), 69.
108. Jonathan Gray, "Scanning the Replicant Text," in The Blade Runner Experience:The Legacy of a Science Fiction Classic, ed. Will Brooker (New York: Wallflower, 2005).
109. Acland, Screen Traffic, 65.
110. See Allen, "Home Alone Together.".
111. Acland, Screen Traffic, 65, 69.
112. Klinger, Beyond the Multiplex, 73.
113. Benjamin, "Work of Art," 221, 220, 221.
114. Klinger, Beyond the Multiplex, 61.
115. Brookey and Westerfelhaus, "Hiding Homoeroticism," 150.
116. See Martin Barker and Kate Brooks, Knowing Audiences: Judge Dredd, Its Friends, Fans and Foes (Luton, U.K.: University of Luton Press, 1998).
117. Benjamin, "Work of Art";.
118. Barthes, "Death of the Author.".
119. Robert Delaney, "The Myth of George Lucas Surrounding The Phantom Menace," in Performing the Force: Essays on Immersion into Science Fiction, Fantasy and Horror Environments, ed. Kurt Lancaster and Tom Micotowicz (Jefferson, NC: McFarland, 2001), 42.
120. Klinger, Beyond the Multiplex, 66.
121. See Max Horkheimer and Theodor W. Adorno, Dialectic of Enlightenment:Philosophical Fragments, trans. John Cumming (New York: Seabury, 1972).
122. Gitlin, Inside Prime Time, 56.
123. Derek Kompare, "Publishing Flow: DVD Box Sets and the Reconception of Television," Television and New Media 7 (2006): 337.
124. Klinger, Beyond the Multiplex, 83-84.
125. Kompare, "Publishing Flow," 348.
126. Barthes, "Death of the Author," 143.
127. Foucault, "What Is an Author?" 144.
128. Henry Jenkins, "'Infinite Diversity in Infinite Combinations': Genre and Authorship in Star Trek," in John Tulloch and Henry Jenkins, Science Fiction Audiences: Watching Doctor Who and Star Trek (New York: Routledge, 1995), 188.
129. Horkheimer and Adorno, Dialectic of Enlightenment, 120, 122.
130. Barthes, "Death of the Author," 145.
131. Francesca Coppa, "Writing Bodies in Space: Media Fan Fiction as Theatrical Performance," in Fan Fiction and Fan Communities in the Age of the Internet:New Essays, ed. Karen Hellekson and Kristina Busse (Jefferson, NC: McFarland, 2006), 243.
132. Jurij Lotman, The Structure of the Artistic Text, trans. Gail Lenhoff and Ronald Vroon (Ann Arbor: University of Michigan Press, 1977), 288.
133. Patrick Lee, "Joss Whedon Gets Big, Bad and Grown Up with Angel," Science Fiction Weekly 128 (1999), archived at http://www.scifi.com/sfw/issue128/interview.html.
134. Rachael Thomas, "An Interview with Michael Emerson," About.com, http://tvdramas.about.com/od/lost/a/mikeemersonint.htm.
135. Kurt Lancaster, Interacting with Babylon 5: Fan Performances in a Media Universe (Austin: University of Texas Press, 2001), 20.
136. Jeff Jensen, "'Heroes' Creator Apologizes to Fans," Entertainment Weekly, November 7, 2007, archived at http://www.ew.com/ew/article/0,20158840,00. html.
137. See Sharon Ross, Beyond the Box: Television and the Internet (Malden, MA:Blackwell, 2008), 248-49.
138. Tasha Robinson, "Interview: Joss Whedon," The Onion AV Club, September 5, 2001, archived at http://www.avclub.com/content/node/24238.
139. Barthes, "From Work to Text," 163.
140. Robinson, "Interview: Joss Whedon.".
141. Quoted in Kerry Segrave, Foreign Films in America (Jefferson, NC: McFarland, 2004), 179.
142. Jenny, "The Strategy of Form," 44.
143. Iampolski, Memory of Tiresias, 246.
144. Volosinov, Marxism and the Philosophy of Language, 68.
145. Bennett, Formalism and Marxism, 59.
146. Nick Couldry, Inside Culture: Re-Imagining the Method of Cultural Studies (Thousand Oaks, CA: Sage, 2000), 69.
147. Bertha Chin and Jonathan Gray, "'One Ring to Rule Them All': Pre-Viewers and Pre-Texts of the Lord of the Rings Films," Intensities 2 (2001), archived at http://intensities.org/Issues/Intensities_Two.htm.
148. Espen J. Aarseth, "Nonlinearity and Literary Theory," in Hyper/Text/Theory, ed. George Landow (Baltimore: Johns Hopkins University Press, 1994), 59.
149. Bennett and Woollacott, Bond and Beyond, 38.
150. J. R. R. Tolkien, The Two Towers (London: Unwin, 1985), 403.
151. John Fiske, "Moments of Television: Neither the Text Nor the Audience," in Remote Control: Television, Audiences, and Cultural Power, ed. Ellen Seiter et al. (London: Routledge, 1989), 66.
152. Tony Bennett, "Holy Shifting Signifiers: Foreword," in The Many Lives of the Batman: Critical Approaches to a Superhero and His Media, ed. Roberta E. Pearson and William Uricchio (London: British Film Institute, 1991), ix.
153. Kristeva, Desire in Language, 65.
154. See Will Brooker, Batman Unmasked: Analyzing a Cultural Icon (New York: Continuum, 2001);.
155. P. David Marshall, Celebrity and Power: Fame in Contemporary Culture (Minneapolis: University of Minnesota Press, 1997).
156. Henry Jenkins, Fans, Bloggers, and Gamers: Media Consumers in a Digital Age (New York: New York University Press, 2006), 118.
157. Pierre Lévy, Collective Intelligence: Mankind's Emerging World in Cyberspace, trans. Robert Bononno (New York: Perseus, 2000).
158. Virginia Nightingale, Studying Audiences: The Shock of the Real (New York:Routledge, 1996), 107.
159. Harold Bloom, The Anxiety of Influence: A Theory of Poetry (London: Oxford University Press, 1973).
160. Jenkins, Textual Poachers, 27, 33.
161. Hills, Fan Cultures, 35.
162. Karen Hellekson and Kristina Busse, "Introduction: Work in Progress," in Fan Fiction and Fan Communities, 7.
163. See Michel de Certeau, The Practice of Everyday Life, trans. Steven F. Rendall (Berkeley: University of California Press, 1984).
164. Constance Penley, NASA/TREK: Popular Science and Sex in America (London:Verso, 1997), 3.
165. Jenkins, Textual Poachers, 156.
166. H. J. Jackson, Marginalia: Readers Writing in Books (New Haven, CT: Yale University Press, 2001), 87.
167. For full survey, see Jonathan Gray and Jason Mittell, "Speculation on Spoilers: Lost Fandom, Narrative Consumption, and Rethinking Textuality," Particip@ tions: Journal of Audience and Reception Studies 4.1, archived at http://www. participations.org/Volume%204/Issue%201/4_01_graymittell.htm.
168. Jenkins, Convergence Culture, 25.
169. Martin Barker, From Antz to Titanic: Reinventing Film Analysis (London:Pluto, 2000); Barker and Brooks, Knowing Audiences.
170. Laura Carroll, "Cruel Spoiler, the Embosom'd Foe," The Valve: A Literary Organ 9 October (2005), archived at http://www.thevalve.org/go/valve/article/cruel_spoiler_that_embosomd_foe.
171. Jason Mittell, "Narrative Complexity in Contemporary American Television," The Velvet Light Trap 58 (2006): 29-40.
172. See Ross, Beyond the Box, 173.
173. See Brooker, "Television out of Time.".
174. For an overview of vids, and for some historical context, see Francesca Coppa, "Women, Star Trek, and the Early Development of Fannish Vidding," Transformative Works and Culture 1 (2008), archived at http://journal.transformativeworks. org/index.php/twc/article/view/44/64.
175. Kristina Busse, "Vidding Intro Via Imeem," Ephemeral Traces, June 28, 2007, archived at http://kbusse.wordpress.com/2007/06/28/vidding-intro-viaimeem/.
176. See http://obsessive24.livejournal.com/203863.html.
177. Coppa, "Writing Bodies," 236.
178. See, for instance, Mr. Skin, Mr. Skin's Skintastic Video Guide: The 501 Greatest Movies for Sex and Nudity on DVD (Chicago: SK, 2007);.
179. Steve Stewart, ed., Full Frontal: Male Nudity Video Guide (Laguna Beach, CA: Companion, 1998).
180. See Geoffrey Baym, "Stephen Colbert's Parody of the Postmodern," in Satire TV: Politics and Comedy in the Post-Network Era, ed. Jonathan Gray, Jeffrey P. Jones, and Ethan Thompson (New York: New York University Press, 2009).
181. See Jeff Jensen, "Spoiler Nation: Secrets about Movie/TV Secrets Revealed!" Entertainment Weekly (2007), archived at http://www.ew.com/ew/article/0,20203864,00.html.
182. See "Rowling Rails against Spoilers," BBC News, July 19, 2007, archived at http://news.bbc.co.uk/2/hi/entertainment/6905873.stm.
183. See Rebecca Tushnet, "Copyright Law, Fan Practices, and the Rights of the Author," in Fandom: Communities and Identities in a Mediated World, ed. Jonathan Gray, Cornel Sandvoss, and C. Lee Harrington (New York: New York University Press, 2007), 60-71.
184. See John Borland, "'Star Wars' and the Fracas over Fan Films," CNet News, May 2, 2005, archived at http://news.cnet.com/Star-Wars-and-the-fracas-overfan- films/2008-1008_3-5690595.html. On Star Wars fan film more generally, see Brooker, Using the Force.
185. Jenkins, Convergence Culture, 138.
186. Lotz, Television Will Be Revolutionized, 109.
187. Klinger, Beyond the Multiplex, 35.
188. Jonathan Gray, "The Reviews Are In: TV Critics and the (Pre)Creation of Meaning," in Flow TV: Essays on a Convergent Medium, ed. Michael Kackman et al. (New York: Routledge, 2009).
189. Matthew Gilbert, "Hard-Hitting 'Lights' Gives 110 Percent," Boston Globe, October 3, 2006, archived at http://www.boston.com/ae/tv/articles/2006/10/03/hard_hitting_lights_gives_110_percent/.
190. Tim Goodman, "'Friday Night Lights' Defies Expectations and Has Something to Offer All Comers," San Francisco Chronicle, October 2, 2006, archived at http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2006/10/02/DDGPOLFJMH1. DTL&type=tvradio.
191. Rob Owen, "'Friday Night Lights' Isn't Just about the Gridiron," Pittsburgh Post-Gazette October 1, 2006, archived at http://www.post-gazette.com/pg/06274/726170-237.stm.
192. Diane Werts, "Where High School Football Is Life," Newsday, October 3, 2006, archived at http://www.newsday.com/entertainment/tv/ny-ettel4915030oct03,0,3498786. story?coll=ny-television-headlines.
193. Tom Shales, "'Friday Night' Kicks Off with a Great Formation," Washington Post, October 3, 2006, archived at http://www.washingtonpost.com/wp-dyn/content/article/2006/10/02/AR2006100201439.html.
194. Doug Elfman, "NBC's Shining 'Lights,'" Chicago Sun-Times, October 3, 2006, archived at http://www.suntimes.com/entertainment/elfman/80613,CSTFTR- elf03.article.
195. Gilbert, "Hard-Hitting 'Lights' Gives 110 Percent.".
196. Werts, "Where High School Football Is Life.".
197. Hal Boedeker, "Show Scores with Brawn and Brains," Orlando Sentinel, October 1, 2006, archived at http://www.orlandosentinel.com/entertainment/tv/orl-lights06oct01,0,4196845.story?coll=orl-caltvtop.
198. Melanie McFarland, "On TV: It Doesn't Get Much Better than 'Friday Night Lights' and 'Nine,'" Seattle Post-Intelligence, October 3, 2006, archived at http://seattlepi.nwsource.com/tv/287262_tv03.html.
199. Alessandra Stanley, "On the Field and Off, Losing Isn't an Option," New York Times, October 3, 2006, archived at http://www.nytimes.com/2006/10/03/arts/television/03heff.html?ex=1160798400&en=de71fb8a98f52f97&ei=5070.
200. Troy Patterson, "Touchdown TV," Slate, October 10, 2006, archived at http://www.slate.com/id/2151266/.
201. Elfman, "NBC's Shining 'Lights.'".
202. Gilbert, "Hard-Hitting'Lights' Gives 110 Percent";.
203. Brian Lowry, "Friday Night Lights," October 1, 2006, archived at http://www.variety.com/review/VE1117931742?categoryId=32&cs=1.
204. Johnson, Heartland TV, 5.
205. Alan Sepinwall, "Bright 'Lights' Has Game," New Jersey Star-Ledger, October 3, 2006, archived at http://www.nj.com/columns/ledger/sepinwall/index.ssf?/base/columns-0/115985153292400.xml&coll=1.
206. Mittell, Genre and Television, chap. 6.
207. John Fiske, Understanding Popular Culture (London: Unwin Hyman, 1989), 124.
208. Stephen Sansweet, Star Wars: From Concept to Screen to Collectible (San Francisco: Chronicle, 1992), 14.
209. See Avi Dan Santo, "Transmedia Brand Licensing Prior to Conglomeration:George Trendle and the Lone Ranger and Green Hornet Brands, 1933-1966" (Ph.D. dissertation, University of Texas at Austin, 2006), archived at http://catalog. lib.utexas.edu/search?/asanto%2C+avi/asanto+avi/1%2C2%2C2%2CB/frameset &FF=asanto+avi+dan+1974&1%2C1%2C/indexsort=-.
210. Sansweet, Star Wars, 71.
211. Stephen Kline, "Limits to the Imagination: Marketing and Children's Culture," in Cultural Politics in Contemporary America, ed. Ian Angus and Sut Jhally (New York: Routledge, 1989), 299-316;.
212. Thomas Englehardt, "The Strawberry Shortcake Strategy," in Watching Television, ed. Todd Gitlin (New York: Pantheon, 1986), 68-110.
213. Ellen Seiter, Sold Separately: Children and Parents in Consumer Culture (New Brunswick, NJ: Rutgers University Press, 1993), 168.
214. Dan Fleming, Powerplay: Toys as Popular Culture (Manchester: Manchester University Press, 1996), 11.
215. Bob Rehak, comment at The Extratextuals, http://www.extratextual. tv/2008/05/john-williams-is-my-religion/.
216. Hills, Fan Cultures, 137.
217. Fleming, Powerplay, 107.
218. Sansweet, Star Wars, 87.
219. Brooker, Using the Force, xii.
220. See, for instance, Camille Bacon-Smith, Enterprising Women: Television Fandom and the Creation of Popular Myth (Philadelphia: University of Pennsylvania Press, 1992);.
221. See John Tulloch and Manuel Alvarado, Doctor Who: The Unfolding Text? (New York: St. Martin's Press, 1983); Hills, Fan Cultures.
222. See Bacon-Smith, Enterprising Women;.
223. Jenkins, Textual Poachers;.
224. Penley, NASA/TREK.
225. Hills, Fan Cultures.
226. Cornel Sandvoss, Fans: The Mirror of Consumption (New York: Polity, 2005), 90.
227. Brooker, Using the Force, 223.
228. Hills, Fan Cultures, 22.
229. Sansweet, Star Wars, 57.
230. See Barker and Brooks, Knowing Audiences.
231. Simon Egenfeldt-Nielson, Jonas Heide Smith, and Susana Pajares Tosca, Understanding Computer Games: The Essential Introduction (New York: Routledge, 2008), 13.
232. Garry Crawford and Jason Rutter, "Playing the Game: Performance in Digital Gaming Audiences," in Fandom: Communities and Identities in a Mediated World, ed. Jonathan Gray, Cornel Sandvoss, and C. Lee Harrington (New York:New York University Press, 2007), 272.
233. Thompson, The Frodo Franchise, 228.
234. Tanya Krzywinska, "Hands-On Horror," in ScreenPlay: Cinema/Videogames/Interfaces, ed. Geoff King and Tanya Krzywinska (New York: Wallflower, 2002), 216.
235. Linda Hutcheon, A Theory of Adaptation (New York: Routledge, 2006), xiii.
236. See Jenkins, Convergence Culture, 161-66.
237. Jenkins, Convergence Culture, 104, 98, 121.
238. Thompson, The Frodo Franchise, 252.
239. Jenkins, Convergence Culture, 104.
240. Lancaster, Interacting with Babylon 5;.
241. Richard Schechner, Performance Theory (New York: Routledge, 1988).
242. Lancaster, Interacting with Babylon 5, 43;.
243. Daniel Mackay, The Fantasy Role-Playing Game: A New Performing Art (Jefferson, NC: McFarland, 2001).
244. See Mia Consalvo, Cheating: Gaining Advantage in Videogames (Cambridge, MA: MIT Press, 2007).
245. See Stein, "'This Dratted Thing'";.
246. Robert Jones, "From Shooting Monsters to Shooting Movies: Machinima and the Transformative Play of Video Game Fan Culture," in Fan Fiction and Fan Communities in the Age of the Internet: New Essays, ed. Karen Hellekson and Kristina Busse (Jefferson, NC: McFarland, 2006), 261-80;.
247. Leo Berkeley, "Situating Machinima in the New Mediascape," Australian Journal of Emerging Technologies and Society 4.2 (2006): 65-80.
248. Jones, "From Shooting Monsters to Shooting Movies," 277.
249. Jenkins, Convergence Culture, 123-28.
250. See http://www.whathappenedinpiedmont.com.
251. Stuart Hall, "On Postmodernism and Articulation," Journal of Communication Inquiry 10.2 (1986): 52.
252. Will Brooker, "Everywhere and Nowhere: Vancouver, Fan Pilgrimage and the Urban Imaginary," International Journal of Cultural Studies 10.4 (2007):423-44.
253. Henrik Örnebring, "Alternate Reality Gaming and Convergence Culture:The Case of Alias," International Journal of Cultural Studies 10.4 (2007): 449, 450.
254. Thompson, The Frodo Franchise.
255. See Jonathan Gray, Television Entertainment (New York: Routledge, 2008), chap. 3.
256. For more on Marvel and transmediated storytelling, see Derek Johnson, "Will the Real Wolverine Please Stand Up? Marvel's Mutation from Monthlies to Movies," in Film and Comic Books, ed. Ian Gordon, Mark Jancovich, and Matthew P. McAllister (Oxford: University of Mississippi Press, 2007), 64-85;.
257. Derek Johnson, "A Knight of the Realm vs. The Master of Magnetism: Sexuality, Stardom, and Character Branding," Popular Communication: The International Journal of Media and Culture 6.4 (November 2008).
258. See http://www.icetruck.tv.
259. Thompson, The Frodo Franchise, 235.
260. Ivan Askwith with Henry Jenkins, Joshua Green, and Tim Crosby, "Deconstructing 'The Lost Experience': In-Depth Analysis of an ARG," A Convergence Culture Consortium White Paper (2007).
261. Thompson, Frodo Franchise;.
262. Henry Jenkins, Confessions of an Aca-Fan: The Official Weblog of Henry Jenkins, http://www.henryjenkins.org;.
263. Santo, "Transmedia Brand Licensing.".
264. Kevin Jackson, Invisible Forms: A Guide to Literary Curiosities (New York:Thomas Dunne, 1999), xvi-xvii.