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2017 - BEA Pages: unavailable || Words: unavailable || 
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1. Chew, Fiona. and Chen, Flora. "“You’re my n-word” : Hate and empowerment in social TV n-word usage about TV characters in a popular TV series" Paper presented at the annual meeting of the BEA, Westgate Hotel & Casino, Las Vegas, NV, Apr 22, 2017 Online <PDF>. 2019-10-15 <http://citation.allacademic.com/meta/p1242561_index.html>
Publication Type: General Paper Submission
Review Method: Peer Reviewed
Abstract: Using transportation theory, this study analyzed tweets with the n-word and its variants about a popular TV series, FOX's Empire. Geo-located tweets from the hashtag EmpireFOX were retrieved for the entire first season of Empire and analyzed for positive, neutral and negative valence towards major TV characters. Next, they were compared to assess the valence among characters and to ascertain the increase/decrease of positive or negative n-word tweets about the characters over time and space.

2016 - ICA's 66th Annual Conference Pages: unavailable || Words: unavailable || 
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2. Schluetz, Daniela., Scherer, Helmut., Emde, Katharina. and Wedemeyer, Jonas. "Quality TV and Social Distinction: An Experiment on How Quality TV Series Distinguish Their Users" Paper presented at the annual meeting of the ICA's 66th Annual Conference, Hilton Fukuoka Sea Hawk, Fukuoka, Japan, Jun 09, 2016 Online <APPLICATION/PDF>. 2019-10-15 <http://citation.allacademic.com/meta/p1105086_index.html>
Publication Type: Conference Paper/Unpublished Manuscript
Review Method: Peer Reviewed
Abstract: This paper addresses the question whether quality TV series as a cultural activity have the potential for social distinction. We understand quality TV as a culturally bound, discursive construct that functions as a meta-genre with implications for selection, experience, and possible effects, mainly symbolic ones. To address our research question we draw on Bourdieu’s theory of distinction arguing that taste is related to social position. Social position, in turn, depends on capital resources. We assume that the demonstrated preference for a specific cultural taste functions as a distinctive sign in general and as a sign of distinction within an adept group. These assumptions were tested via a 3x1 experiment with between subject design plus control group (N = 389). We found that favoring quality TV offers the profit of distinction, especially within a certain group of connoisseurs. Implications are discussed with regard to the theory and the object of investigation.

2016 - ICA's 66th Annual Conference Words: 207 words || 
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3. Turnbull, Susan. "Other People’s TV: The Australian Experience of the Transnational Trade in the TV Crime Drama" Paper presented at the annual meeting of the ICA's 66th Annual Conference, Hilton Fukuoka Sea Hawk, Fukuoka, Japan, <Not Available>. 2019-10-15 <http://citation.allacademic.com/meta/p1104890_index.html>
Publication Type: Session Paper
Abstract: The Australian TV landscape has long been dominated by television crime dramas from somewhere else. While initially that somewhere else was more likely to be the UK and the US, with the arrival of the Special Broadcasting Service (SBS) in 1980 with a remit to meet the needs of an increasingly multicultural nation, that landscape began to change. More recently, SBS became the home to television crime dramas from Scandinavia, Italy and elsewhere on a network with a niche audience unlikely to be deterred by subtitles. Meanwhile, very few Australian crime dramas have had much success in other markets, with the exception of "Water Rats" (Channel 9), "Miss Fisher's Murder Mysteries" (ABC), "The Code" (ABC), the prison drama "Cell Block H" (Channel 10) and its reimagined remake produced by Netflix, "Wentworth". This paper will explore the transnational trade in television crime drama from an Australian perspective.

Sue Turnbull is Professor of Communication and Media Studies at the University of Wollongong, Australia. Her research interests include media education, media audiences and television studies with particular attention to crime and comedy. Her recent publications include The TV Crime Drama (2014) and The Media and Communications in Australia (2014) co-edited with Distinguished Professor Stuart Cunningham. E-mail: sturnbul@uow.edu.au

2017 - American Studies Association Annual Meeting Words: 501 words || 
Info
4. Murugan, Meenasarani. "“Indians on TV”: Master of None and TV History’s Mundane South Asian Idols" Paper presented at the annual meeting of the American Studies Association Annual Meeting, Hyatt Regency Chicago, Chicago, Illinois, <Not Available>. 2019-10-15 <http://citation.allacademic.com/meta/p1261712_index.html>
Publication Type: Internal Paper
Abstract: The fourth episode of the critically acclaimed Netflix show Master of None, entitled “Indians on TV,” opens with a montage of racist caricatures of South Asian boys and men from the last 50-odd years of film and television. Some of these characters are animated, such as Hadji from Jonny Quest, while others are white actors in brownface, such as Peter Sellers as Hrundi V. Bakshi in The Party. This montage sets the frame for an episode that is all about how South Asian actors are struggling to make it in a world where there are seldom “Indians on TV”; even when they are present, they are just in brownface. This look to the past is at once mournful and repulsed. We are supposed to be appalled and dismayed that these were the only representations to be found in popular culture, yet defying Hollywood conventions of teleology in terms of racial representation we are offered no narrative of progress. If anything, the only thing that is offered as progress is Master of None existing as a show with multiple Indian characters, at least for 2-3 episodes of the season. Rather than simply lauding Master of None for its complexity of South Asian representation, I use this episode to explore the relationship between South Asian American (Desi) artists and the history of Desi representation.
While one impulse in artistically defining Desi identity today would be to wholly reject this unfortunate past, Master of None uses this visualization of racism as ammunition. Similarly, rather than orienting itself toward Bollywood and the global spread of various Indian language cinemas, Master of None locates itself within the urban domestic antics of the sitcom, the highly mediated form of “everyday” US middle-class life that is most often defined by whiteness. This desire to be “everyday” is what I interrogate in my paper. By drawing connections between the historiographic work of Master of None with other scholars working on the history of South Asian popular culture representation at large or within the South Asian American Digital Archive, I want to understand how the desire to find and celebrate the mundane in the archive and pop culture representations can relate to the current precarities South Asian people in the U.S. have felt since 9/11, and are facing now in the wake of the election and regime change.

Bibliography

Caswell, Michelle. “Seeing Yourself in History: Community Archives and the Fight Against Symbolic Annihilation.” The Public Historian 36(4), November 2014: 26-37.

Dave, Shilpa S. Indian Accents: Brown Voice and Racial Performance in American Television and Film. Urbana: University of Illinois Press, 2013.

Desai, Jigna. Beyond Bollywood: The Cultural Politics of South Asian Diasporic Film. New York: Routledge, 2003.

Desai, Manan. “Korla Pandit Plays America: Exotica, Racial Performance, and Fantasies of Containment in Cold War Culture.” The Journal of Popular Culture, 48(4), August 2015: 714-730.

Kim, Ju Yon. The Racial Mundane: Asian American Performance and the Embodied Everyday. New York: NYU Press, 2015.

Mani, Bakirathi. “Beyond Bollywood: Exhibiting South Asian America” Journal of Asian American Studies 18(2), June 2015: 193-217.

2011 - International Communication Association Pages: unavailable || Words: 7653 words || 
Info
5. Chong, Cindy. and Cheng, Xiaoxuan. "Why Are We Still Watching TV? Television Connectedness Index and Our Changing Relationship With TV" Paper presented at the annual meeting of the International Communication Association, TBA, Boston, MA, May 25, 2011 Online <APPLICATION/PDF>. 2019-10-15 <http://citation.allacademic.com/meta/p488654_index.html>
Publication Type: Conference Paper/Unpublished Manuscript
Review Method: Peer Reviewed
Abstract: Traditional television is losing its dominant role in mass communication. Is it really dying? A quantitative research with 877 respondents in Beijing and Hong Kong was conducted to examine the habit of TV viewing according to four dimensions of integration, motivations, social interaction and affiliation. A summated scale, Television Connectedness Index (TVCI), is constructed to measure the importance of TV as a medium in our everyday life. The result shows that people are going to stay with their TVs despite of the fact that they are using more and more of the computer. The strength of TVCI lies in its ability to track our changing relationship with TV over time. We target to conduct the TVCI research on longitudinal studies regularly over time, so that different level of TVCI can be observed to document our connectedness with television.

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