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His career with Screen Gems ended in late , [38] and shortly afterward, he had issues with his old friend Erle Stanley Gardner. As the time was not right for science fiction, he began work on The Lieutenant for Arena Productions. The show set a new ratings record for that time slot. The Lieutenant was produced with the co-operation of the Pentagon , which allowed them to film at an actual Marine base. During the production of the series, Roddenberry clashed regularly with the Department of Defense over potential plots. Roddenberry was already working on a new series idea.

This included his ship location from Hawaii Passage and added a Horatio Hornblower character, plus the multiracial crew from his airship idea. He decided to write it as science fiction, and by March 11, , he brought together a page pitch. On April 24, he sent three copies and two dollars to the Writers Guild of America to register his series. He called it Star Trek. His first was a half-hour pilot called Police Story not to be confused with the anthology series created by Joseph Wambaugh , which was not picked up by the networks.

They took it to CBS, which ultimately passed on it. The duo later learned that CBS had been eager to find out about Star Trek because it had a science fiction series in development— Lost in Space. Roddenberry and Katz next took the idea to Mort Werner at NBC, [51] this time downplaying the science fiction elements and highlighting the links to Gunsmoke and Wagon Train. The other two later became episodes of the series. While most of the money for the pilot came from NBC, the remaining costs were covered by Desilu. Fontana , as his assistant. They had worked together previously on The Lieutenant, and she had eight script credits to her name.

Roddenberry and Barrett had begun an affair by the early days of Star Trek , [52] and he specifically wrote the part of the character Number One in the pilot with her in mind; no other actresses were considered for the role. Barrett suggested Nimoy for the part of Spock. He had worked with both Roddenberry and Barrett on The Lieutenant , and once Roddenberry remembered the thin features of the actor, he did not consider anyone else for the part.

The episode failed to impress test audiences, [56] and after the executives became hesitant, Katz offered to make a second pilot. On March 26, , NBC ordered a new episode.


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NBC selected the last one, leading to later rumors that Peeples created Star Trek , something he has always denied. In December, he decided to write lyrics to the Star Trek theme; this angered the theme's composer, Alexander Courage , as it meant that royalties would be split between them. In February , NBC informed Desilu that they were buying Star Trek and that it would be included in the fall television schedule.

On May 24, the first episode of the Star Trek series went into production; [62] Desilu was contracted to deliver 13 episodes. After the episode was shown, he received a standing ovation. Not wanting to lose a potential source of income, Ellison agreed and also sought the help of other writers who also wanted to avoid losing potential income. An article in the Chicago Tribune quoted studio executives as stating that the letter-writing campaign had been wasted because they had already been planning to renew Star Trek. Roddenberry often rewrote submitted scripts, although he did not always take credit for these.

The Guild ruled in his favor over John D. Black , the complainant. As the second season was drawing to a close, Roddenberry once again faced the threat of cancellation. He enlisted the help of Asimov, [74] and even encouraged a student-led protest march on NBC. On January 8, , a thousand students from 20 different schools across the country marched on the studio. Trimble later noted that this campaign of writing to fans who had written to Desilu about the show, urging them to write NBC, had created an organized Star Trek fandom.

Realizing the show could not survive in that time slot and burned out from arguments with the network, Roddenberry resigned from the day-to-day running of Star Trek , although he continued to be credited as executive producer. Roddenberry explained to Whitfield: "I had to get some money somewhere. I'm sure not going to get it from the profits of Star Trek.

Justman observed that Whitfield never regretted his deal with Roddenberry, since it gave him "the opportunity to become the first chronicler of television's successful unsuccessful series. Having stepped aside from the majority of his Star Trek duties, Roddenberry sought instead to create a film based on Asimov's " I, Robot " and also began work on a Tarzan script for National General Pictures. A similar but much smaller letter-writing campaign followed news of the cancellation.

Following the cancellation of Star Trek, Roddenberry felt typecast as a producer of science fiction, despite his background in Westerns and police stories. Variety was unimpressed: "Whatever substance was in the original [novel by Francis Pollini] or screen concept has been plowed under, leaving only superficial, one-joke results. In and , Roddenberry made a comeback to science fiction, selling ideas for four new series to a variety of networks.

He had hoped to recreate the success of Star Trek without "doing another space-hopping show. Roddenberry was asked to produce four more scripts for episodes, but before production could begin again, CBS aired the film Planet of the Apes. It was watched by an even greater audience than Genesis II. CBS scrapped Genesis II and replaced it with a television series based on the film; [] the results were disastrous from a ratings standpoint, and Planet of the Apes was quickly canceled.

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Coon, who was in failing health at the time. NBC ordered 16 episodes, and tentatively scheduled the series to follow The Rockford Files on Friday nights; [] the pilot launched on January 23, , [] to positive critical response, but Roddenberry balked at the substantial changes requested by the network and left the project, leading to its immediate cancellation. The pilot was aired on April 23, While Roddenberry wanted to create something that could feasibly exist in the future, the network wanted stereotypical science-fiction women and were unhappy when that was not delivered.


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By the time the work on the script was complete, though, those who had approved the project had left Fox and their replacements were not interested in the project. A similar fate was faced by Tribunes, a science-fiction police series, which Roddenberry attempted to get off the ground between and He gave up after four years; [] the series never even reached the pilot stage.

The pilot Spectre , Roddenberry's attempt to create an occult detective duo similar to Sherlock Holmes and Dr. Watson , [] was released as a television movie within the United States and received a limited theatrical release in the United Kingdom. Lou Scheimer approached Paramount in about creating an animated Star Trek series.

Roddenberry had some difficulties with the cast. To save money, he sought not to hire George Takei and Nichelle Nichols. He neglected to inform Leonard Nimoy of this and instead, in an effort to get him to sign on, told him that he was the only member of the main cast not returning. After Nimoy discovered the deception, he demanded that Takei and Nichols play Sulu and Uhura when their characters appeared on screen; Roddenberry acquiesced.

He had been promised five full seasons of the new show, but ultimately, only one and a half were produced. However, the groundswell of vociferous fan support 6, attended the second New York Star Trek convention in and 15, attended in , eclipsing the 4, attendees at the 32nd World Science Fiction Convention in led Paramount to hire Roddenberry to create and produce a feature film based on the franchise in May Black's opinion was that their ideas were never "big enough" for the studio, even when one scenario involved the end of the universe. Adjusted for inflation , it was the third-highest grossing Star Trek movie, with the film coming in first and the film second.

In , Roddenberry submitted a treatment for a proposed sequel about the crew preventing the alien Klingons from thwarting the assassination of John F. Mindful of the tumult that suffused the production of Star Trek: The Motion Picture , Paramount rejected the proposal. After he was replaced on the project by television producer Harve Bennett , Roddenberry was named " executive consultant " for the project, a position he retained for all subsequent Star Trek franchise films produced during his lifetime.

Under this arrangement, he was compensated with a producer's fee and a percentage of the net profits of the film in exchange for proffering non-binding story notes and corresponding with the fan community; much to his ongoing chagrin, these memos were largely disregarded by Bennett and other producers. Roddenberry was involved in creating the television series Star Trek: The Next Generation , which premiered with " Encounter at Farpoint " on September 28, However, Paramount was already concerned about the original cast not returning, and fearing fan reaction if Roddenberry was not involved, agreed to his demand for control of the show.

According to producer Rick Berman , Roddenberry's involvement in The Next Generation "diminished greatly" after the first season, [] but the nature of his increasingly peripheral role was not disclosed because of the value of his name to fans. Although commercially successful from its inception, the series was initially marred by Writers Guild of America grievances from Fontana and Gerrold, both of whom left the series under acrimonious circumstances; [] frequent turnover among the writing staff 24 staff writers left the show during its first three seasons, triple the average attrition rate for such series ; [] and allegations that longtime Roddenberry attorney Leonard Maizlish had become the producer's "point man and proxy", [] ghostwriting memos, sitting in on meetings, and contributing to scripts despite not being on staff.

Creatively, Meyer clashed with Roddenberry, who felt that having the Enterprise crew hold prejudices against the Klingons did not fit with his view of the universe. Meyer described a meeting with Roddenberry he later regretted, saying:. His guys were lined up on one side of the room, and my guys were lined up on the other side of the room, and this was not a meeting in which I felt I'd behaved very well, very diplomatically. I came out of it feeling not very good, and I've not felt good about it ever since.

He was not well, and maybe there were more tactful ways of dealing with it, because at the end of the day, I was going to go out and make the movie. I didn't have to take him on. Not my finest hour. In Joel Engel's biography, Gene Roddenberry: The Myth and the Man Behind Star Trek , he states that Roddenberry watched The Undiscovered Country alongside the producers of the film at a private screening two days before his death, and told them they had done a "good job".

Attempts to complete the project by Walter Koenig , [] Susan Sackett , Fred Bronson, [] and Michael Jan Friedman have proven to be unfeasible for a variety of legal and structural reasons. Barrett and he had an apartment together by the opening weeks of Star Trek. He moved out of the family home on August 9, , two weeks after the marriage of his daughter Darleen. Roddenberry was raised a Southern Baptist ; [] however, as an adult, he rejected religion, and considered himself a humanist. Gunn of the National Council of Churches regarding the application of Christian teachings in television series.

However, Gunn stopped replying after Roddenberry wrote in a letter: "But you must understand that I am a complete pagan, and consume enormous amounts of bread, having found the Word more spice than nourishment, so I am interested in a statement couched in dollars and cents of what this means to the Roddenberry treasury. Roddenberry said of Christianity , "How can I take seriously a God-image that requires that I prostrate myself every seven days and praise it? That sounds to me like a very insecure personality.

I believe in a kind of God. It's just not other people's God. I reject religion. I accept the notion of God. An art form. While he agreed that both parties were wrong in their use of violence, he said that the actions of both were undertaken because of their strong religious beliefs. According to Ronald D. Moore , Roddenberry "felt very strongly that contemporary Earth religions would be gone by the 23rd century".

In the late s, Roddenberry was likely afflicted by the first manifestations of cerebral vascular disease and encephalopathy as a result of his longstanding recreational use of legal and illicit drugs, including alcohol , methaqualone , [] methylphenidate , Dexamyl , and cocaine which he had used regularly since the production of Star Trek: The Motion Picture. Following a stroke at a family reunion in Tallahassee, Florida , in September , [] Roddenberry's health declined further, ultimately requiring him to use a wheelchair.

It also caused problems with the sight in his right eye and he found communicating in full sentences difficult. Ronald Rich. As they reached the fifth floor, he began struggling for breath, and was wheeled into the doctor's office, where he was reclined and a nurse administered oxygen. Barrett was sent for. Upon her arrival, she held Roddenberry while encouraging him to breathe.

He had a cardiopulmonary arrest , and he died in the doctor's office shortly afterwards. The funeral was arranged for November 1, with the public invited to the memorial service at the Hall of Liberty, within the Forest Lawn Memorial Park , in Hollywood Hills. More than Star Trek fans attended, and stood in the balcony section of the hall, while the invited guests were on the floor level. Nichelle Nichols sang twice during the ceremony, first " Yesterday " and then a song she wrote herself titled "Gene". Jack Neuman , [] and Patrick Stewart. This work delves into the act of reporting on different cultures as a means of exploring our own.

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Intimacy on the Internet Media Representations of Online Connections, 1st Edition By Lauren Rosewarne The focus of this book is on the media representations of the use of the Internet in seeking intimate connections—be it a committed relationship, a hook-up, or a community in which to dabble in fringe sexual practices. Popular culture film, narrative television, the news media, and advertising … Hardback — Routledge Routledge Research in Cultural and Media Studies.

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Her main research interests lie in the analysis of television and film, especially aesthetics and medium specificity including convergence culture , the transnationalisation of film and television particularly audio-visual translation, such as dubbing and subtitling , and representations of the body. Melanie E. Kohnen Melanie E. Kohnen is Marion L. Her current book project examines the intersecting discourses of queer visibility, whiteness and citizenship in contemporary American film and television.

She is also interested in digital media and participatory culture. Carly A.

Kocurek Carly A. Her research focuses on the culture and history of video gaming. Her book, a cultural history of the video game arcade in the United States, is forthcoming from the University of Minnesota Press. Derek Kompare Derek Kompare is an Associate Professor in the Division of Film and Media Arts in the Meadows School of the Arts at Southern Methodist University, where he teaches courses on media histories, industries, and cultures, generally involving television, the internet, comics, video games, and even film. He writes about cultural production in the media industries, race and reality TV, and the cultural geography of mediated sports.

Her work on gender, race, celebrity and genre on television and other digital media has appeared in Cinema Journal, Television and New Media, Genders, and elsewhere. Tama has been blogging since and his main web presence is www. He currently lives somewhere on the West Coast of the United States. Follow Twitter for the most activity, and Tumblr for the least. He is a former president of the Society for Film and Media Studies. She is also affiliated with Media McGill — a hub of research, scholarship and public outreach on issues and controversies in media, technology and culture.

He currently teaches on Trash Cinema and Youth Culture at the USC School of Cinema-Television and is completing a book on transformations of educational practice and school culture in response to screen technologies and entertainment media. Since he researches and lectures at the department of Media and Culture Studies at Utrecht University in the Netherlands.

His fields of interest are media theory, cultural studies, and the discursive constructions of public opinion. His research focuses on media constructions of morality, moral deviation, and genocide trials in particular. For further information, see www. She has published articles on the soap opera production process Critical Studies in Media Communication, and included in television studies anthologies , U. He is the author of three books on independent media, including the forthcoming Navajo Talking Picture: Cinema on Native Ground.

In addition to exploring new trends in cinema, Dr. Lewis has also written about art and literature, including an article on Cherokee painter Leon Polk Smith in American Indian Quarterly and a co-edited book with Thomas F. He is also continuing to write about indigenous media for reasons both intellectual and political. His current book project, Navajo Talking Picture: Cinema on Native Ground , examines the intersection of cinema and Navajo culture over the past hundred years, moving across nearly a century of southwestern cinema.

In addition to writing, Dr. Lewis has a strong interest in film production. His most recent project is a documentary co-produced with Dr. Circe Sturm that explores the cultural connections between Sicily and East Texas, something that piqued his interest after a year teaching as a Senior Fulbright Lecturer in Catania, Sicily.

Kristin Lieb Kristin J. Lieb is associate professor of marketing communication at Emerson College in Boston, MA, where she teaches courses in entertainment marketing, brand management, and gender, sexuality, and popular music. She works on temporality, taste, Philippine cinema, postcolonial feminist film theory, transnational horror, and the fantastic. His research focuses on media distribution, digital labor, border studies, and Latin American film and television.

A media industries scholar, Ramon has published widely on film and television distribution, copyright and piracy. His first book Shadow Economies of Cinema BFI explored how pirate and informal networks shape international film culture. He has written on a wide variety of topics, including the U. Cold War, film adaptation, conspiracy and paranoia, and contemporary American fiction. You can read his blog, An Ontarian in Newfoundland, at newnewfie.

Amanda Lotz Amanda D. Lotz is an assistant professor of Communication Studies at the University of Michigan. Her first book, Redesigning Women: Television After the Network Era explores the rise of female-centered dramas and cable networks targeted toward women in the late s as they relate to changes in the U. She is currently working on a book that explores the effects of the institutional redefinition of the U. In , he earned his doctorate in media studies from the University of Texas, completing a dissertation titled Crafting Digital Cinema: Cinematographers in Contemporary Hollywood.

While at University of Texas he co-created Flow with Avi Santo, served as an editor for two years, and helped found the bi-annual Flow conference. He has a background in broadcast news, film, and theater production. He recently produced an award-winning environmental documentary Above All Else www.

She has published articles on femininity, television, and early cinema in such journals as Screen, The Velvet Light Trap and Aura and has chapters in several anthologies. She recently completed a manuscript titled Cinema and Community: Progressivism, Spectatorship and Identity in Chicago, and is currently working on a book on femininity in popular film and television. She is currently writing a book on the figure of the child in film, and will be soon developing a textbook on Children and Screen Media for Palgrave. Her interests are in television, children and childhood, animation, television aesthetics, sound and music.

Mann served as an associate editor on Camera Obscura, a journal of feminism and film theory, for six years Kelli Marshall Kelli Marshall is a visiting assistant professor at the University of Toledo who writes and teaches on film and Shakespeare. Her research interests include digital culture, platform politics, gender and technology, gaming, and digital ethics.

She has more than 10 years experience as a user researcher, information architect, usability specialist, and consultant in both corporate and educational settings. His main research is on the reception of cult cinema and reality-television. He has published on audience responses to The Lord of the Rings, Big Brother, and a score of horror and cult films.

His most recent book is a monograph on the reception of the films of David Cronenberg. He co-directs the book series Cultographies. You can find her at wordsinspace. She writes broadly on media industries and production and consumption cultures. Her complete c. She is a co-founding editor as well as the managing editor of the television journal Critical Studies in Television MUP. Her research interests include policing femininities and cultural memory on television.

She is currently working on a study of television, politics, and culture during the Cold War. She has published articles on a variety of subjects, including early television, s suspense radio, s and popular song in radio and film. Her areas of research include histories of global media industries, feminist and LGBTQ media studies, and American independent film. Anthony McIntyre Anthony P. Adrienne L. McLean Adrienne L. Club , Slate , and his personal blog, Cultural Learnings. Cynthia Meyers Cynthia B.

Meyers studies branded content, past and present. She has published articles about the histories of the advertising industry, broadcasting, and branded content in journals such as Cinema Journal and Journal of American History forthcoming , as well as in book collections such as Media Industries and Films That Sell Erin Meyers Erin A. Irina D. Mihalache Irina D.

She is currently working on a series of articles which explore: narratives of colonialism in French post-colonial museums, the significance of eating spaces in cultural institutions and theorizations of the kitchen. She has published articles on post-colonial food in France and eating spaces in French museum. She holds the Ph. Her research interests include musical technocultures, media reception, performance studies, and the ethnography of dispersed communities. Taylor Cole Miller Taylor Cole Miller University of Wisconsin-Madison researches and writes about queer and feminist media studies, television, and syndication.

He has forthcoming book chapters on bisexual reception of Glee and the mediated mourning of Whitney Houston. He is also a contributor to The Huffington Post. Follow him on Twitter taycole. He is the author and editor of over 30 books, has published essays in more than journals and edited collections, and is a frequent guest commentator on television and radio programs. His teaching and research cover the media, sports, labor, gender, race, citizenship, politics, and cultural policy, as well as the success of Hollywood overs eas and the adverse effects of electronic waste.

Her second book project, Print Disability and New Reading Formats , examines the reformatting of print over the course of the past century by blind and other print disabled readers, with a focus on Talking Books and electronic reading machines. Ryan Milner Ryan M. He investigates the social, political, and cultural implications of mass connection. He is the author of Genre and Television: From Cop Shows to Cartoons in American Culture Routledge, , and is currently working on a book about narrative complexity in contemporary American television.

She writes on issues of race and, specifically, blackness within contemporary US public and political cultures. Her research interests include cable television history and media synergy.


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He has taught at colleges and universities in Iowa, Michigan, Maryland and Texas as well as the University of Georgia and has lectured widely in the U. Michael Newman Michael Z. He has also written many essays on cinema, television, video games, and new media. He is mznewman on twitter. She examines cultural and political formations of gender, sexuality, race, class, and nation, considering how identities and communities are defined and contested through media and culture.

Her focus is on television and new media, both as significant forms of visual culture and as sites of ongoing economic, cultural, and technological transformations.

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She earned her Ph. Konrad Ng Dr. His research explores the relationship between contemporary Asian American identity and new media civic engagement. Her research on gender, television, and digital media has been presented at conferences such as the Society for Cinema and Media Studies and Console-ing Passions and has been published in Feminist Media Studies , Television and New Media , Spectator , and elsewhere.

Phil Oppenheim Phil Oppenheim has spent thirty years working on the popular media assembly line. He has tried to expiate for his sins by consulting for public-radio station and teaching the odd class at Portland Community College. Brian Ott Brian L. He has recently been writing and publishing on the development of new forms of television with a particular emphasis on Lifestyle formats.

Jane Park Dr. Her research focuses on representations of race and ethnicity, particularly of Asiatic peoples and cultures in film and popular media, including television, popular music, and video games. Lisa Parks Lia Parks, Ph. His work focuses on analyzing how literacy, knowledge, and knowledge institutions change as we move from analog to digital structures. He has published and presented on areas ranging from digital games to Wikipedia and microblogging.

He can be found online at OutsidetheText, Academhack or twitter. Her primary research centers on the relationship between dance, race and sexuality in Hollywood film. Other research interests include the representation of Latina sexuality in health and public service announcements as well as the intersection of gender, race and sexuality in multimedia. His research agenda is at the intersection of popular media, political activism, and public service.

In particular, Shayne studies how film, television, and new media technologies are used to foster political activism and affect public policy. From to , she served as Coordinating Editor for In Media Res , an online project experimenting with collaborative, multi-modal forms of scholarship. Presently, she is a co-founder and co-managing editor for Media Industries, a new online, peer-reviewed, open-access journal launching in Her current research explores representations of non-straight youth on Canadian and American scripted teen TV.

Combining political economy, textual analysis and audience reception, her research on Queer As Folk U. Forthcoming publications include an auto-ethnographic account of illness, embodiment, privilege and the pedagogy of the rejected body. She teaches game studies and game design at Georgetown, and writes about death, race, gender, and social justice in video games and the digital humanities.

Her work explores digital media and technology studies, communication studies, cultural studies, folklore studies, literary studies, and critical race, gender, and sexuality studies. She is wphillips49 on Twitter. Latino media. He has a Ph. He is the U. He has experience in television production working for Televisa, and Imevision in Mexico.

In August , he appeared on Broadway in conjunction with a performance of The 39 Steps. Friedman and Adrienne L. His research and teaching revolve around globalization, cultural industries, inter-media relations, media history, and public culture with a focus on South Asia and the South Asian diaspora. He is co-editor of Global Bollywood NYU Press, and is currently writing a book about the globalization of Indian film and television.

He blogs about these and other topics at Bollyspace 2. New York: Peter Lang. Bob Rehak Bob Rehak is an associate professor in the Department of Film and Media Studies at Swarthmore College, where his research and teaching center on special effects, animation, and fan culture. Paul Reinsch Paul N. Yeidy M. Rivero Yeidy M. She is current at work on a history of Cuban commercial television paying particular attention to issues of modernity, nationhood, identity, and transnational media flows.

Martin Roberts Martin Roberts considers himself to be primarily a cultural studies scholar, with a special interest in the cultural dimensions of globalization and the relation of transnational media to these processes. His work explores questions such as the role of media in the production of national identities; transnational cultural imaginaries; and the transformation of television from a public-service medium into an instrument for the governance of consumer society.

Erica Robles-Anderson Erica Robles-Anderson focuses on the role media technologies play in the production of space. In particular, she concentrates on configurations that enable a sense of public, collective, or shared experience, especially through the structuring of visibility and gaze. Trained as both an experimental psychologist and a cultural historian she has employed a range of methodologies to explore the definition of media-space. She was as a full time faculty member for nine years in English and film studies at Mesa Community College in Arizona.

He teaches courses in Latino studies, race and representation, border studies, and popular culture. His work uses pragmatist perspectives to argue for a more substantive engagement with environmental problems in media and cultural studies. He is currently writing on The Weather Channel and commercial media provision of information, images, and disaster warning services related to weather forecasting and climate change.

His earlier work studied the engagement of climate scientists with mainstream media. Alexander Russo Dr. D in American Civilization from Brown University. His book Points on the Dial: Golden Age Radio beyond the Networks Duke UP: examines the origins of the musically oriented, market defined formats of much of the last fifty years of radio programming. He is currently working on a history of Hollywood in the contemporary conglomerate era, which was recently awarded a film scholars grant by the Academy of Motion Pictures Arts and Sciences.

Schatz also is founder and Executive Director of the UT Film Institute, a program devoted to training students in narrative and digital filmmaking, and the actual production of feature-length independent films. Together with its commercial counterpart, Burnt Orange Productions, the UT Film Institute has produced five independent feature films, on which Schatz served as executive producer. Robert Schrag Robert L.

Schrag has taught university level media classes for thirty years, the last 25 at North Carolina State University in Raleigh. His background in theatre, media production and communication theory combine to fuel his current interest in digital technology. He is the current editor of The American Communication Journal.

Other collected works can be found, in part, at The Negress Determinata. In , she produced a documentary entitled: Projecting Culture: Perceptions of Arab and American Film and is currently working on a research project about US and Arab youth? Michael Serazio Michael Serazio is an assistant professor in the Department of Communication at Fairfield University whose research, writing, and teaching interests include popular culture, advertising, politics, and new media.

Mimi Sheller Dr. As co-editor, with John Urry, of Mobile Technologies of the City Routledge, , Tourism Mobilities Routledge, and several key articles, she helped to establish the new interdisciplinary field of mobilities research. She received her A. Oxford University Press, He has been researching the globalization of media for over twenty years, with special reference to the internationalization of the advertising and commercial television industries, and particularly in developing regions such as Latin America and India.

She is social media and web strategist for State of Opportunity, a project of Michigan Radio, focused on children and well-being in the State of Michigan. Springer has written extensively on gender, race, sexuality, and digital culture for academic and popular press outlets. Bonni Stachowiak Bonni Stachowiak gets the privilege of speaking with exceptional educators on a weekly basis, as the host of the Teaching in Higher Ed podcast. Since , her podcast has provided a space to explore the art and science of being more effective at facilitating learning.