Nissim Kadosh Otmazgin
- Published in print:
- 2013
- Published Online:
- November 2016
- ISBN:
- 9780824836948
- eISBN:
- 9780824870911
- Item type:
- chapter
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824836948.003.0003
- Subject:
- Society and Culture, Asian Studies
This chapter examines the commodification of popular culture in Japan as well as the capacity of the domestic market to manufacture and export anime, movies, video games, television programs, music, ...
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This chapter examines the commodification of popular culture in Japan as well as the capacity of the domestic market to manufacture and export anime, movies, video games, television programs, music, and manga. It first considers the structure of Japan's cultural industries and the process of cultural commodification based on examples from music, television, and manga in order to provide a broad picture of the Japanese popular culture markets. It then discusses the main features of popular culture production and the capacity of Japan's cultural industries for production, consumption, and export. It also explores the role of “freeters” and “otaku” in Japan's popular culture production, along with the Japanese government's involvement in the production and export of popular culture and its initiatives to support the sector. It argues that the structure and size of the domestic market and the experience of Japan's cultural industries at home have fostered the competitiveness of Japanese popular culture products abroad.Less
This chapter examines the commodification of popular culture in Japan as well as the capacity of the domestic market to manufacture and export anime, movies, video games, television programs, music, and manga. It first considers the structure of Japan's cultural industries and the process of cultural commodification based on examples from music, television, and manga in order to provide a broad picture of the Japanese popular culture markets. It then discusses the main features of popular culture production and the capacity of Japan's cultural industries for production, consumption, and export. It also explores the role of “freeters” and “otaku” in Japan's popular culture production, along with the Japanese government's involvement in the production and export of popular culture and its initiatives to support the sector. It argues that the structure and size of the domestic market and the experience of Japan's cultural industries at home have fostered the competitiveness of Japanese popular culture products abroad.
Peter H. Hoffenberg
- Published in print:
- 2001
- Published Online:
- March 2012
- ISBN:
- 9780520218918
- eISBN:
- 9780520922969
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520218918.003.0003
- Subject:
- History, World Modern History
This chapter discusses the issues about power and commissioners in exhibitions in Great Britain. It explains that exhibition commissioners were the leading actors in the epic nineteenth-century drama ...
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This chapter discusses the issues about power and commissioners in exhibitions in Great Britain. It explains that exhibition commissioners were the leading actors in the epic nineteenth-century drama of creating imperial and national public cultures. The state called upon these experts for science and art reforms, national education, and the management of public galleries, and they were among the first experts in Britain and its Empire to apply modern scientific, economic, and management techniques to the production of culture.Less
This chapter discusses the issues about power and commissioners in exhibitions in Great Britain. It explains that exhibition commissioners were the leading actors in the epic nineteenth-century drama of creating imperial and national public cultures. The state called upon these experts for science and art reforms, national education, and the management of public galleries, and they were among the first experts in Britain and its Empire to apply modern scientific, economic, and management techniques to the production of culture.
James Bennett and Niki Strange
- Published in print:
- 2014
- Published Online:
- March 2016
- ISBN:
- 9780814764695
- eISBN:
- 9780814724989
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9780814764695.003.0004
- Subject:
- Society and Culture, Media Studies
This chapter narrates the emergence of competing discourses among BBC creative workers over how to implement its 2006 interactive multiplatform initiative. Debates over the roles which multiplatform ...
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This chapter narrates the emergence of competing discourses among BBC creative workers over how to implement its 2006 interactive multiplatform initiative. Debates over the roles which multiplatform was supposed to play within the BBC's strategic mission often reproduced assumptions about what makes BBC content appealing to its audience. The shift to multiplatform commissioning and production strategies not only attempted to merge the disparate production cultures of television and digital media, but did so in a setting with a strong broadcasting heritage. Drawing on a range of work on production cultures, particularly Philip Schlesinger's study of managerial style, the chapter asks how these varied production cultures have managed the meanings and possibilities of multiplatform production itself.Less
This chapter narrates the emergence of competing discourses among BBC creative workers over how to implement its 2006 interactive multiplatform initiative. Debates over the roles which multiplatform was supposed to play within the BBC's strategic mission often reproduced assumptions about what makes BBC content appealing to its audience. The shift to multiplatform commissioning and production strategies not only attempted to merge the disparate production cultures of television and digital media, but did so in a setting with a strong broadcasting heritage. Drawing on a range of work on production cultures, particularly Philip Schlesinger's study of managerial style, the chapter asks how these varied production cultures have managed the meanings and possibilities of multiplatform production itself.
Nissim Kadosh Otmazgin
- Published in print:
- 2013
- Published Online:
- November 2016
- ISBN:
- 9780824836948
- eISBN:
- 9780824870911
- Item type:
- book
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824836948.001.0001
- Subject:
- Society and Culture, Asian Studies
This book provides a comprehensive, empirically grounded study of the political economy of the production, circulation, and reception of Japanese popular culture in East Asia. It emphasizes that the ...
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This book provides a comprehensive, empirically grounded study of the political economy of the production, circulation, and reception of Japanese popular culture in East Asia. It emphasizes that the consumption side and contextual meaning of popular culture are not the only salient factors in accounting for its proliferation. The production side and organizational aspects are also important. In addition to presenting individual case studies, the book offers a big-picture view of the dramatic changes that have taken place in popular culture production and circulation in Asia over the past two decades. The book offers a dialectical look at the organization of cultural production, primarily at the structure and control of cultural industries, interconnections between companies and production networks, and relations between the business sector and the state. The book traces the rise of Japan as a popular culture powerhouse and the expansion of its cultural industries into Asian markets. It looks as well at the creation of markets for Japanese cultural commodities since the late 1980s, the industrial and normative impact that Japanese cultural industries have on the structure of the local cultural industries, and the wider implications these processes have for the Asian region.Less
This book provides a comprehensive, empirically grounded study of the political economy of the production, circulation, and reception of Japanese popular culture in East Asia. It emphasizes that the consumption side and contextual meaning of popular culture are not the only salient factors in accounting for its proliferation. The production side and organizational aspects are also important. In addition to presenting individual case studies, the book offers a big-picture view of the dramatic changes that have taken place in popular culture production and circulation in Asia over the past two decades. The book offers a dialectical look at the organization of cultural production, primarily at the structure and control of cultural industries, interconnections between companies and production networks, and relations between the business sector and the state. The book traces the rise of Japan as a popular culture powerhouse and the expansion of its cultural industries into Asian markets. It looks as well at the creation of markets for Japanese cultural commodities since the late 1980s, the industrial and normative impact that Japanese cultural industries have on the structure of the local cultural industries, and the wider implications these processes have for the Asian region.
Angela J. Aguayo
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9780190676216
- eISBN:
- 9780190676254
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190676216.003.0004
- Subject:
- Literature, Film, Media, and Cultural Studies
The impulse to record and document labor struggle is almost as old as the concept of documentary itself. From the Worker’s Film and Photo League to the activist programming of Labor Beat, documentary ...
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The impulse to record and document labor struggle is almost as old as the concept of documentary itself. From the Worker’s Film and Photo League to the activist programming of Labor Beat, documentary has had an intimate relationship with the labor struggle. This chapter addresses the history of labor documentary production in the United States as an expression of radical ideology. Challenging the aesthetic form and content of the mainstream media, the labor movement is a loosely connected network of activists and artists across the country, engaged in efforts to produce media outside mainstream institutions. Specifically, this chapter focuses on elements of labor history that made significant contributions but are now largely ignored and undocumented: the efforts of radical women, rank-and-file amateur videographers, and undocumented workers. Existing on the fringes of the mainstream and counterculture, the work of women in alternative media in the early 1970s reflected a direct relationship between their lived experience, the camera, and political engagement, embodying a liberated agency that is magnified by the documentary camera. The chapter creates a portrait of the documentary commons as it expands and works for citizens in their daily lives. They represent a whole population of radical activists carving out a space for themselves to engage labor and social change with their cameras.Less
The impulse to record and document labor struggle is almost as old as the concept of documentary itself. From the Worker’s Film and Photo League to the activist programming of Labor Beat, documentary has had an intimate relationship with the labor struggle. This chapter addresses the history of labor documentary production in the United States as an expression of radical ideology. Challenging the aesthetic form and content of the mainstream media, the labor movement is a loosely connected network of activists and artists across the country, engaged in efforts to produce media outside mainstream institutions. Specifically, this chapter focuses on elements of labor history that made significant contributions but are now largely ignored and undocumented: the efforts of radical women, rank-and-file amateur videographers, and undocumented workers. Existing on the fringes of the mainstream and counterculture, the work of women in alternative media in the early 1970s reflected a direct relationship between their lived experience, the camera, and political engagement, embodying a liberated agency that is magnified by the documentary camera. The chapter creates a portrait of the documentary commons as it expands and works for citizens in their daily lives. They represent a whole population of radical activists carving out a space for themselves to engage labor and social change with their cameras.
James Paasche
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9780520291508
- eISBN:
- 9780520965263
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520291508.003.0014
- Subject:
- Film, Television and Radio, Film
The Department of Army Special Photographic Office (DASPO) was created to document U.S. Army activities during the Cold War, with much of the work centered on the Vietnam War. This chapter, by James ...
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The Department of Army Special Photographic Office (DASPO) was created to document U.S. Army activities during the Cold War, with much of the work centered on the Vietnam War. This chapter, by James Paasche, demonstrates that the production of state and military propaganda required constant negotiations of control between military commanders and the soldiers and media makers on the ground. Further, this chapter attends to the labor practices of an institutional filmmaking unit in the hopes of delineating how the processes of media production must adapt to the fraught contexts of war. In addition, the chapter considers how image making was considered a key component of the U.S. military’s supposed technological superiority during the Vietnam War.Less
The Department of Army Special Photographic Office (DASPO) was created to document U.S. Army activities during the Cold War, with much of the work centered on the Vietnam War. This chapter, by James Paasche, demonstrates that the production of state and military propaganda required constant negotiations of control between military commanders and the soldiers and media makers on the ground. Further, this chapter attends to the labor practices of an institutional filmmaking unit in the hopes of delineating how the processes of media production must adapt to the fraught contexts of war. In addition, the chapter considers how image making was considered a key component of the U.S. military’s supposed technological superiority during the Vietnam War.
Angela J. Aguayo
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9780190676216
- eISBN:
- 9780190676254
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190676216.001.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
The potential of documentary moving images to foster democratic exchange has been percolating within media production culture for the last century, and now, with mobile cameras at our fingertips and ...
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The potential of documentary moving images to foster democratic exchange has been percolating within media production culture for the last century, and now, with mobile cameras at our fingertips and broadcasts circulating through unpredictable social networks, the documentary impulse is coming into its own as a political force of social change. The exploding reach and power of audio and video are multiplying documentary modes of communication. Once considered an outsider media practice, documentary is finding mass appeal in the allure of moving images, collecting participatory audiences that create meaningful challenges to the social order. Documentary is adept at collecting frames of human experience, challenging those insights, and turning these stories into public knowledge that is palpable for audiences. Generating pathways of exchange between unlikely interlocutors, collective identification forged with documentary discourse constitutes a mode of political agency that is directing energy toward acting in the world. Reflecting experiences of life unfolding before the camera, documentary representations help order social relationships that deepen our public connections and generate collective roots. As digital culture creates new pathways through which information can flow, the connections generated from social change documentary constitute an emerging public commons. Considering the deep ideological divisions that are fracturing U.S. democracy, it is of critical significance to understand how communities negotiate power and difference by way of an expanding documentary commons. Investment in the force of documentary resistance helps cultivate an understanding of political life from the margins, where documentary production practices are a form of survival.Less
The potential of documentary moving images to foster democratic exchange has been percolating within media production culture for the last century, and now, with mobile cameras at our fingertips and broadcasts circulating through unpredictable social networks, the documentary impulse is coming into its own as a political force of social change. The exploding reach and power of audio and video are multiplying documentary modes of communication. Once considered an outsider media practice, documentary is finding mass appeal in the allure of moving images, collecting participatory audiences that create meaningful challenges to the social order. Documentary is adept at collecting frames of human experience, challenging those insights, and turning these stories into public knowledge that is palpable for audiences. Generating pathways of exchange between unlikely interlocutors, collective identification forged with documentary discourse constitutes a mode of political agency that is directing energy toward acting in the world. Reflecting experiences of life unfolding before the camera, documentary representations help order social relationships that deepen our public connections and generate collective roots. As digital culture creates new pathways through which information can flow, the connections generated from social change documentary constitute an emerging public commons. Considering the deep ideological divisions that are fracturing U.S. democracy, it is of critical significance to understand how communities negotiate power and difference by way of an expanding documentary commons. Investment in the force of documentary resistance helps cultivate an understanding of political life from the margins, where documentary production practices are a form of survival.
Christina Baade and James A. Deaville (eds)
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780199314706
- eISBN:
- 9780190619541
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199314706.001.0001
- Subject:
- Music, Popular
This book explores the complex ways in which music and broadcasting have developed together throughout the twentieth and into the twenty-first centuries. It brings into dialogue researchers working ...
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This book explores the complex ways in which music and broadcasting have developed together throughout the twentieth and into the twenty-first centuries. It brings into dialogue researchers working in media studies and music studies; explores and develops crucial points of contact between studies of music in radio and music in television; and investigates the limits, persistence, and extensions of music broadcasting in the Internet era. The book presents a series of case studies that address key moments and concerns in both classical and popular music broadcasting, past and present, written by leading scholars in the field, who hail from both media and music studies. Unified by attentiveness both to musical sound and meaning and to broadcasting structures, practices, audiences, and discourses, the chapters in this collection address the following topics: the role of live orchestral concerts and opera in the early development of radio and their relation to ideologies of musical uplift; the relation between production culture, music, and television genre; the function of music in sponsored radio during the 1930s; the fortunes of musical celebrity and artistic ambition on television; questions of music format and political economy in the development of online radio; and the negotiation of space, community, and participation among audiences, online and offline, in the early twenty-first century. The collection’s ultimate aim is to explore the usefulness and limitations of broadcasting as a concept for understanding music and its cultural role, both historically and today.Less
This book explores the complex ways in which music and broadcasting have developed together throughout the twentieth and into the twenty-first centuries. It brings into dialogue researchers working in media studies and music studies; explores and develops crucial points of contact between studies of music in radio and music in television; and investigates the limits, persistence, and extensions of music broadcasting in the Internet era. The book presents a series of case studies that address key moments and concerns in both classical and popular music broadcasting, past and present, written by leading scholars in the field, who hail from both media and music studies. Unified by attentiveness both to musical sound and meaning and to broadcasting structures, practices, audiences, and discourses, the chapters in this collection address the following topics: the role of live orchestral concerts and opera in the early development of radio and their relation to ideologies of musical uplift; the relation between production culture, music, and television genre; the function of music in sponsored radio during the 1930s; the fortunes of musical celebrity and artistic ambition on television; questions of music format and political economy in the development of online radio; and the negotiation of space, community, and participation among audiences, online and offline, in the early twenty-first century. The collection’s ultimate aim is to explore the usefulness and limitations of broadcasting as a concept for understanding music and its cultural role, both historically and today.
Jonathan Cohn
- Published in print:
- 2014
- Published Online:
- April 2014
- ISBN:
- 9780199949311
- eISBN:
- 9780199364749
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199949311.003.0014
- Subject:
- Music, Popular, History, American
This chapter looks at how the contemporary conception of the digital mash-up became both a recognizable and acceptable part of mainstream media through its early use as a pedagogical tool for ...
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This chapter looks at how the contemporary conception of the digital mash-up became both a recognizable and acceptable part of mainstream media through its early use as a pedagogical tool for commercial editors. One of the most widely known examples of this genre is Robert Ryang’s “Shining,” which used creative editing, a new voice-over, and a rather peppy Peter Gabriel song to transform Kubrick’s thriller into a feel-good father-son melodrama. Ryang’s mash-up was made for a contest held by the Association of Independent Creative Editors, which represents commercial editors. This chapter argues that it is this original context of commercial industrial pedagogy that made it possible for this piece and the mash-up genre as a whole to be hailed by a wider public interested in both its pedagogical and artistic potentials. In the process, the chapter challenges the oppositions that are often made between mainstream “professional” productions and “amateur” mash-ups.Less
This chapter looks at how the contemporary conception of the digital mash-up became both a recognizable and acceptable part of mainstream media through its early use as a pedagogical tool for commercial editors. One of the most widely known examples of this genre is Robert Ryang’s “Shining,” which used creative editing, a new voice-over, and a rather peppy Peter Gabriel song to transform Kubrick’s thriller into a feel-good father-son melodrama. Ryang’s mash-up was made for a contest held by the Association of Independent Creative Editors, which represents commercial editors. This chapter argues that it is this original context of commercial industrial pedagogy that made it possible for this piece and the mash-up genre as a whole to be hailed by a wider public interested in both its pedagogical and artistic potentials. In the process, the chapter challenges the oppositions that are often made between mainstream “professional” productions and “amateur” mash-ups.
Samantha Close
- Published in print:
- 2014
- Published Online:
- April 2014
- ISBN:
- 9780199949311
- eISBN:
- 9780199364749
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199949311.003.0015
- Subject:
- Music, Popular, History, American
Fan remix videos have usefully been called “transformative works,” but focusing on the transformative relationship between sampled video and the originals from which they sample misses the way remix ...
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Fan remix videos have usefully been called “transformative works,” but focusing on the transformative relationship between sampled video and the originals from which they sample misses the way remix videos function as communicative objects on their own terms. Sampling offers the equivalent of a digital pencil and printing press for audiences to speak through, about, and to big media. This chapter delves into the production culture of fan remix video making, both fan vidding and anime music video editing. Based on interviews with makers, the videos themselves, and primary textual sources from video-making communities, the chapter constructs a framework for analyzing remix videos that derives from the video makers’ practices rather than imported aesthetic or legal theory. This framework allows scholars to compare videos from different traditions of remix based on creators’ motivations for sampling and the communities creators work within.Less
Fan remix videos have usefully been called “transformative works,” but focusing on the transformative relationship between sampled video and the originals from which they sample misses the way remix videos function as communicative objects on their own terms. Sampling offers the equivalent of a digital pencil and printing press for audiences to speak through, about, and to big media. This chapter delves into the production culture of fan remix video making, both fan vidding and anime music video editing. Based on interviews with makers, the videos themselves, and primary textual sources from video-making communities, the chapter constructs a framework for analyzing remix videos that derives from the video makers’ practices rather than imported aesthetic or legal theory. This framework allows scholars to compare videos from different traditions of remix based on creators’ motivations for sampling and the communities creators work within.
Terence E. McDonnell
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780226382012
- eISBN:
- 9780226382296
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226382296.003.0005
- Subject:
- Anthropology, African Cultural Anthropology
The convergence around best practice also opens up opportunities for divergence and conflict within and among the enactment of those best practices. Using a production of culture approach, this ...
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The convergence around best practice also opens up opportunities for divergence and conflict within and among the enactment of those best practices. Using a production of culture approach, this chapter traces how AIDS organizations in Accra put best practices into practice, and identifies moments of entropy that emerge when designers produce campaigns. In a field that has converged around the value of incorporating formative research into the design process, organizations make themselves distinct by doing formative research differently. These divergences, namely whether organizations collect categorical or narrative data from audiences, lead them to produce campaigns with what I call “categorical” and “narrative” styles. Different styles produce more or less effective campaigns, undermining the intended goals of AIDS organizations. Organizations incorporate “cultural ombudsmen” into the design process who draw moral and cultural symbolic boundaries around the appropriateness of campaign ideas. Obmudsmen, with their veto power, can squash campaign ideas that designers like best and that have the support of communities, putting the practices of formative research and securing buy-in in conflict. This opens campaigns up to entropy, as organizations put out “lowest common denominator” campaigns that may have less resonance and lack organizational support.Less
The convergence around best practice also opens up opportunities for divergence and conflict within and among the enactment of those best practices. Using a production of culture approach, this chapter traces how AIDS organizations in Accra put best practices into practice, and identifies moments of entropy that emerge when designers produce campaigns. In a field that has converged around the value of incorporating formative research into the design process, organizations make themselves distinct by doing formative research differently. These divergences, namely whether organizations collect categorical or narrative data from audiences, lead them to produce campaigns with what I call “categorical” and “narrative” styles. Different styles produce more or less effective campaigns, undermining the intended goals of AIDS organizations. Organizations incorporate “cultural ombudsmen” into the design process who draw moral and cultural symbolic boundaries around the appropriateness of campaign ideas. Obmudsmen, with their veto power, can squash campaign ideas that designers like best and that have the support of communities, putting the practices of formative research and securing buy-in in conflict. This opens campaigns up to entropy, as organizations put out “lowest common denominator” campaigns that may have less resonance and lack organizational support.
Davesh Soneji
- Published in print:
- 2012
- Published Online:
- September 2013
- ISBN:
- 9780226768090
- eISBN:
- 9780226768113
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226768113.003.0001
- Subject:
- History, Asian History
This introductory chapter discusses the theme of this volume which is about the history of the devadasis in South India. This volume examines the connections between colonial modernity and the ...
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This introductory chapter discusses the theme of this volume which is about the history of the devadasis in South India. This volume examines the connections between colonial modernity and the production of culture in the courtly milieu and investigates what happened to the devadasi communities after the 1947. It also explores the dance and culture of the courtesans in late colonial Madras, the religious lives of devadasis, and the place of dance in late colonial Tanjore.Less
This introductory chapter discusses the theme of this volume which is about the history of the devadasis in South India. This volume examines the connections between colonial modernity and the production of culture in the courtly milieu and investigates what happened to the devadasi communities after the 1947. It also explores the dance and culture of the courtesans in late colonial Madras, the religious lives of devadasis, and the place of dance in late colonial Tanjore.
Kit Hughes
- Published in print:
- 2020
- Published Online:
- December 2019
- ISBN:
- 9780190855789
- eISBN:
- 9780190855826
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190855789.003.0007
- Subject:
- History, Cultural History
Acting as an extended “acknowledgments,” the conclusion addresses the conditions of possibility that enabled research for the book—both the individuals who shared their time and resources, and the ...
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Acting as an extended “acknowledgments,” the conclusion addresses the conditions of possibility that enabled research for the book—both the individuals who shared their time and resources, and the institutions, especially archives, that shaped this work. The author also describes a series of interviews and interactions with corporate communications consultants, television directors and producers, trade organization leadership, authors, teachers, and market researchers who guided her investigations into corporate television. It argues that it is necessary to distinguish between the desires of multinational capital and the aims of the people who devoted their lives to television at work, many of whom were (and are) sincerely invested in making the workplace more humane. In following this latter ambition—the workplace as an opportunity to build community, as locus of personal connection and self-actualization—it may be possible to renew attempts to build broad-based worker solidarity by developing the conditions of possibility for just labor.Less
Acting as an extended “acknowledgments,” the conclusion addresses the conditions of possibility that enabled research for the book—both the individuals who shared their time and resources, and the institutions, especially archives, that shaped this work. The author also describes a series of interviews and interactions with corporate communications consultants, television directors and producers, trade organization leadership, authors, teachers, and market researchers who guided her investigations into corporate television. It argues that it is necessary to distinguish between the desires of multinational capital and the aims of the people who devoted their lives to television at work, many of whom were (and are) sincerely invested in making the workplace more humane. In following this latter ambition—the workplace as an opportunity to build community, as locus of personal connection and self-actualization—it may be possible to renew attempts to build broad-based worker solidarity by developing the conditions of possibility for just labor.
