PREFACE
1. Carolyn Marvin, When Old Technologies Were New: Thinking About Electric Communication in the Late Nineteenth Century (New York: Oxford UP, 1988), 8, argues: “Media are not fixed natural objects; they have no natural edges. They are constructed complexes of habits, beliefs, and procedures embedded in elaborate cultural codes of communication.” Philip W. Sewell, Television in the Age of Radio: Modernity, Imagination, and the Making of a Medium (New Brunswick, N.J.: Rutgers UP, 2014), 49, argues that a medium is not only a technology but also “a set of articulated social relations, values, institutions, and gadgets.”
2. James W. Carey and John J. Quirk, “The Mythos of the Electronic Revolution,” in Communication as Culture: Essays on Media and Society, ed. James W. Carey (New York: Routledge, 1992), 113–141.
3. Thomas Streeter, “Blue Skies and Strange Bedfellows: The Discourse of Cable Television,” in The Revolution Wasn’t Televised: Sixties Television and Social Conflict, eds. Lynn Spigel and Michael Curtin (London: Routledge, 1997), 221–242.
4. Vincent Mosco, The Digital Sublime: Myth, Power, and Cyberspace (Cambridge, Mass.: MIT P, 2005).
5. Evgeny Morozov, To Save Everything Click Here: The Folly of Technological Solutionism (New York: PublicAffairs, 2013).
6. Raymond Williams, Keywords: A Vocabulary of Culture and Society (New York: Oxford UP, 1976), 229.
7. Will Oremus, “Apple’s New iPhones Go Heavy on Hardware, Light on Gimmicks,” Slate Future Tense, September 10, 2013.
1. THREE PHASES
1. Video has been the subject of numerous scholarly books and articles, many of which have grappled with some of these particular “fantasies” about video according to certain conceptions of the medium or in particular moments of its history. Notable examples are Rosalind Krauss, “Video: The Aesthetics of Narcissism,” October 1 (Spring 1976): 50–64; Roy Armes, On Video (London: Routledge, 1988); Sean Cubitt, Timeshift: On Video Culture (London: Routledge, 1991); James Moran, There’s No Place Like Home Video (Minneapolis: U of Minnesota P, 2002); and Yvonne Spielmann, Video: The Reflexive Medium (Cambridge, Mass: MIT P, 2010).
2. Marita Sturken and Douglas Thomas, “Introduction: Technological Visions and the Rhetoric of the New,” in Technological Visions: The Hopes and Fears That Shape New Technologies, eds. Thomas Sturken and Sandra J. Ball-Rokeach (Philadelphia: Temple UP, 2004), 1–18.
3. With Elana Levine, I have argued that television’s cultural status has shifted during the era of digital convergence to a more legitimated level on the cultural hierarchy. It is in this sense that I am using “cultural status” in explaining the cultural view. Michael Z. Newman and Elana Levine, Legitimating Television: Media Convergence and Cultural Status (New York: Routledge, 2012).
4. I am using “popular imagination” following William Boddy, New Media and Popular Imagination: Launching Radio, Television, and Digital Media in the United States (New York: Oxford UP, 2004).
2. VIDEO AS TELEVISION
1. Sidney Lohman, “News of TV and Radio: Video’s Impact on Radio—Other Studio Items,” New York Times, December 7, 1952, X17.
2. Orrin E. Dunlap, Jr., The Outlook for Television (New York: Harper & Row, 1932; reprinted by New York: Arno Press, 1971), 4.
3. Philip W. Sewell, Television in the Age of Radio: Modernity, Imagination, and the Making of a Medium (New Brunswick, N.J.: Rutgers UP, 2014) 41.
4. Jerry Fairbanks, “Film’s Role in Video: It Helps to Increase New Medium’s Flexibility,” New York Times, June 13, 1948, XX20. For more on usage of video in the 1950s and 1960s, see John Belton, “Looking Through Video: The Psychology of Video and Film,” in Resolutions: Contemporary Video Practices, eds. Michael Renov and Erika Suderberg (Minneapolis: U of Minnesota P, 1996), 61–72.
5. Sewell, Television in the Age of Radio, 33–34.
6. Gilbert Seldes, The Great Audience (New York: Viking, 1950), 190.
7. David Weinstein, “Captain Video: Television’s First Fantastic Voyage,” Journal of Popular Film and Television 30, 3 (Fall 2002): 148–157.
8. William Boddy, Fifties Television: The Industry and Its Critics (Champaign: U of Illinois P, 1990).
9. Quoted in Frederick Wasser, Veni, Vidi, Video: The Hollywood Empire and the VCR (Austin: U of Texas P, 2001), 55.
11. Alexander Russo, “Defensive Transcriptions: Radio Networks, Sound-on-Disc Recording, and the Meaning of Live Broadcasting,” The Velvet Light Trap 54 (Fall 2004), 4–17; Alexander Russo, Points on the Dial: Golden Age Radio Beyond the Networks (Durham, N.C.: Duke UP, 2010), 77–114.
12. Russo, Points on the Dial, 84.
13. Fairbanks, “Film’s Role in Video,” New York Times, June 13, 1948, XX20.
14. Jane Feuer, “The Concept of Live Television: Ontology as Ideology,” in Regarding Television: Critical Approaches—An Anthology, ed. E. Ann Kaplan (Los Angeles: American Film Institute, 1983), 12–21.
15. Edwin Diamond, “TV View: Is Live Television a Dead Issue?” New York Times, November 12, 1978, D41.
16. John Ellis, Visible Fictions: Cinema, Television, Video (New York: Routledge, 1982), 132, 134.
17. Jack Gould, “A Plea for Live Video: Switch to Film for TV Was a Major Mistake,” New York Times, December 7, 1952, X17.
18. Elana Levine, “Distinguishing Television: The Changing Meanings of Television Liveness,” Media, Culture & Society 30, 3 (2008): 393–409.
1. On the history of videotape’s development see Albert Abramson, The History of Television, 1942–2000 (Jefferson, N.C.: McFarland & Company, 2003), 60–76; Christoph Blase, “Welcome to the Labyrinth of Machines: Tapes and Video Formats 1960–1980,” in Record Again! 40Yearsvideoart.de part 2, eds. Blase and Peter Weibel (Ostfildern, Germany: Hatje Cantz/Zentrum für Kunst und Medientechnologie Karlsruhe, 2010), 500–508; and Lucas Hilderbrand, Inherent Vice: Bootleg Histories of Videotape and Copyright (Durham, N.C.: Duke UP, 2009), 33–72.
2. Rudy Bretz, “Video Tape: A TV Revolution,” The Quarterly Review of Film Radio and Television 11, 4 (Summer 1957): 399–415; 401.
3. Jack Gould, “Miraculous Ribbon of TV,” New York Times, June 28, 1959, SM14.
4. Bretz, “Video Tape,” 412; Jeff Martin, “The Dawn of Tape: Transmission Device as Preservation Medium,” The Moving Image 5, 1 (Spring 2005): 45–66; 49.
5. Oscar Godbout, “N.B.C. to Record with Video Tape,” New York Times, November 5, 1957, 51.
6. John Fink, “Use Videotape to ‘Save Time’ on TV Shows,” Chicago Tribune, November 17, 1957, N14; Larry Wolters, “Tape Produces Revolution in TV Broadcasts,” Chicago Tribune, August 31, 1958, NW6.
7. “Is TV Tape Live or Film?” Broadcasting, October 5, 1959.
8. Walter Lippmann, “Television: Whose Creature, Whose Servant?” in The Essential Lippmann: A Political Philosophy for Liberal Democracy, eds. Clinton Rossiter and James Lare (New York: Random House, 1963), 411–413.
9. Bret Maxwell Dawson, “TV Repair: New Media ‘Solutions’ to Old Media Problems” (PhD diss., Northwestern University, 2008), 113–187.
10. “Magnetic Devices Collect a Record Audience,” New York Times, September 5, 1958, 35.
11. “Fast Growth Shown by Videotape Market,” Chicago Tribune, September 23, 1968, C7.
12. J. Robert McAdam, Portable Video Tape Recorder: A Guide for Teachers (New York: Division of Educational Technology, National Education Association, 1968).
13. “Videotape—The View from ’70” Business Screen, April 1970, 29–30.
14. “VTR Adds Punch to Maytag Marketing,” Business Screen, November 1970, 60–61.
15. “Television on a Disk,” Time, September 18, 1970.
16. Nadine Subotnik, “Channel Comment,” The Cedar Rapids Gazette, April 26, 1959.
17. Martin, “The Dawn of Tape,” 54.
18. For a first-person account of the introduction of these techniques, see Tony Verna, Instant Replay—The Day That Changed Sports Forever (Beverly Hills, Calif.: Creative Book Publishers International, 2008).
19. Leonard Shecter, “Why It’s Better to Watch the Game on TV,” New York Times, March 3, 1968, SM32.
21. Thomas Streeter, “Blue Skies and Strange Bedfellows: The Discourse of Cable Television,” in The Revolution Wasn’t Televised: Sixties Television and Social Conflict, eds. Lynn Spigel and Michael Curtin (London: Routledge, 1997), 221–242.
22. Edward Kern, “A Good Revolution Goes on Sale,” Life, October 16, 1970, 47.
23. Dawson, “TV Repair,” 117–121.
24. This history of formats and the companies bringing them to market is well told in James Lardner, Fast Forward: Hollywood, The Japanese, and the Onslaught of the VCR (New York: W. W. Norton, 1987).
25. Max Dawson, “Home Video and the ‘TV Problem’: Cultural Critics and Technological Change,” Technology and Culture 48, 3 (July 2007): 524–549; 533.
26. Roger Kenneth Field, “In the Sixties It Was TV; In Seventies, Video Cassette,” New York Times, July 5, 1970, 73.
27. Michael Z. Newman and Elana Levine, Legitimating Television: Media Convergence and Cultural Status (New York: Routledge, 2012), 129–152.
28. Charles Burck, “Goldmark’s Variations on a Video Theme,” Fortune, May 1970, 71.
29. George Movshon, “The Video Revolution,” Saturday Review, August 8, 1970, 50–52.
30. Quoted in Frederick Wasser, Veni, Vidi, Video: The Hollywood Empire and the VCR (Austin, Tex.: U of Texas P, 2001), 72.
31. “How the Two Big TV Toys Are Faring,” Broadcasting, January, 24, 1977, 80.
32. Robert Chew, “Innovations in Video—Nightmare for Networks?” Advertising Age, May 30, 1977, 3, 70.
33. Hans Magnus Enzensberger, The Consciousness Industry: On Literature, Politics and the Media (New York: Seabury P, 1974), 97.
34. Peter Ross Range, “The Space-Age Pinball Machine,” New York Times Magazine, September 15, 1974; “Modern Living: Screen Games,” Time, May 22, 1972; Larry Steckler, “TV Games at Home,” Radio Electronics, December 1975, 29–31, 71, 90–91; 29; Dick Pietschmann, “The New Fun World of Video Games,” Mechanix Illustrated, January 1975, 36, 92; 36.
35. Sheila C. Murphy, How Television Invented New Media (New Brunswick, N.J.: Rutgers UP, 2011), 41–58.
36. Jason Wilson, “‘Participation TV’: Videogame Archaeology and New Media Art,” in The Pleasures of Computer Gaming: Essays on Cultural History, Theory, and Aesthetics, eds. Melanie Swalwell and Jason Wilson (Jefferson, N.C.: McFarland & Co., 2008), 94–117.
37. Blase, “Welcome to the Labyrinth of Machines,” 501.
38. Ben Keen, “‘Play it Again, Sony’: The Double Life of Home Video Technology” Science as Culture 1, 1 (1987): 7–42.
39. Dawson, “TV Repair,” 174.
40. Douglas Davis, “Television’s Avant-Garde,” Newsweek, February 9, 1970, 60–62.
41. Bill Viola, “Video as Art,” Journal of Film and Video 36, 1 (Winter 1984): 36–41; 39.
42. Quoted in Sara Hornbacher, “Editor’s Statement: Video: The Reflexive Medium, Art Journal 45, 3 (Autumn 1985): 191–193; 192.
43. Deirdre Boyle, “From Portapak to Camcorder: A Brief History of Guerrilla Television,” Journal of Film and Video 44, 1–2 (Spring–Summer 1992): 67–79.
44. Les Levine, “One-Gun Video Art,” in New Artists Video, ed. Gregory Batecock (New York: E. P. Dutton, 1978), 76–94; 90.
45. William Boddy, “Alternative Television in the United States,” Screen 31, 1 (Spring 1990): 91–101; 92.
46. David Antin, “Video: The Distinctive Features of the Medium,” in Video Culture: A Critical Investigation, ed. John G. Hanhardt (Rochester, N.Y.: Visual Studies Workshop Press, 1986), 147–166; 148. Originally published in Video Art (Philadelphia: Institute of Contemporary Art, 1975), 57–72.
48. Calvin Tomkins, “Video Visionary,” The New Yorker, May 5, 1975, 44–79; 44.
49. Grace Glueck, “Videotape Replaces Canvas for Artists Who Use TV Technology in New Way,” New York Times, April 14, 1975.
50. John J. O’Connor, “TV: Video at the Whitney,” New York Times, June 3, 1976.
51. Barbara Delatiner, “TV as a Tool for the Artist,” New York Times, February 13, 1977.
52. Nancy L. Ross, “The Home Television Revolution,” Washington Post, January 26, 1973.
53. “For Many, TV Tape Means Watching More—and Loving It,” New York Times, August 27, 1977.
54. Vincent Canby, “Confessions of a VCR Recruit,” New York Times, November 24, 1985.
55. “For Many, TV Tape Means Watching More—And Loving It.” New York Times.
56. Robert Lindsey, “Hollywood Moves to Tap Video Market,” New York Times, July 2, 1979.
57. Aljean Harmetz, “A Night at the Movies—At Home on Tape,” New York Times, March 1, 1978.
58. Keen, “‘Play It Again, Sony.’”
59. James Lardner, “I-The Betamax Case,” The New Yorker, April 6, 1987, 45–71; James Lardner, “II-The Betamax Case,” The New Yorker, April 13, 1987, 60–81.
60. Lardner, “I-The Betamax Case,” April 6, 1987, 57.
61. Lindsey, “Hollywood Moves to Tap Video Market.”
62. William Bates, “How a ‘Video Revolution’ Is Shaping the Future of Film,” New York Times, November 23, 1980.
63. Joan Kron, “The Media Room,” New York, April 19, 1976.
64. Lynn Spigel, Make Room for TV: Television and the Family Ideal in Postwar America (Chicago: U of Chicago P, 1992).
65. Eric Gelman et al., “The Video Revolution” Newsweek, August 6, 1984, 50–57; 51.
68. Many video stores sold popcorn and other cinema snacks, and Orville Redenbacher offered a version of its product called “Video Popcorn” in the later 1980s. Joshua M. Greenberg, From Betamax to Blockbuster: Video Stores and the Invention of Movies on Video (Cambridge, Mass.: MIT P, 2008), 82–84.
69. Chuck Kleinhans, “The Change from Film to Video Pornography: Implications for Analysis,” in Pornography: Film and Culture, ed. Peter Lehman (New Brunswick, N.J.: Rutgers UP, 2006), 154–167.
70. Wasser, Veni, Vidi, Video, 94.
71. Keir Keightley, “‘Turn it Down!’ She Shrieked: Gender, Domestic Space, and High Fidelity, 1948–59,” Popular Music 15, 2 (1996): 149–177.
72. Cynthia Cockburn, “The Circuit of Technology: Gender, Identity and Power,” in Consuming Technologies: Media and Information in Domestic Spaces, eds. Roger Silverstone and Eric Hirsch (London: Routledge, 1992), 18–25.
73. Ann Gray, Video Playtime: The Gendering of a Leisure Technology (London: Routledge, 1992), 26; 164–180.
74. Greenberg, From Betamax to Blockbuster, 37–40, considers The Videophile in more detail.
75. “New Magazine: Video Today,” New York Times, August 27, 1980.
76. Barbara Klinger, Beyond the Multiplex: Cinema, New Technologies, and the Home (Berkeley: U of California P, 2006). See also Barbara Klinger, “The New Media Aristocrats: Home Theater and the Domestic Film Experience,” The Velvet Light Trap 42 (Fall 1998): 4–19.
77. Pauline Kael, “Movies on Television,” The New Yorker, July 3, 1967, 120–134.
78. Greenberg, From Betamax to Blockbuster, 134–141.
79. Charles R. Acland, “Tampering with the Inventory: Colorization and Popular Histories,” Wide Angle 12, 2 (1990): 12–20.
80. Richard T. Jameson, “Life with Video,” Film Comment (May 1991): 44–45.
81. Charles Tashiro, “Videophilia: What Happens When You Wait for It on Video,” Film Quarterly 45, 1 (Autumn 1991): 7–17.
82. Jameson, “Life with Video”; George Mannes, “Life with Video: Video Visions of Light,” Film Comment (January 1993): 72–75; Tim Lucas, “Life with Video: Who Framed Edward Scissorhands?” Film Comment (March 1992): 75–76; Frank Thompson, “Life with Video: Big,” Film Comment (March 1992): 77.
83. Paolo Cherchi Usai, “The Unfortunate Spectator,” Sight & Sound 56 (Summer 1987): 170–173.
84. Thompson, “Life with Video: Big.”
85. Society for Cinema Studies Task Force on Film Integrity, “Statement on the Use of Video in the Classroom,” Cinema Journal 30, 4 (Summer 1991): 3–6.
88. Bruce Kawin, “Late Show on the Telescreen: Film Studies and the Bottom Line,” Film Quarterly 42, 2 (Winter 1988–89): 56–60.
89. Shyon Baumann, Hollywood Highbrow: From Entertainment to Art (Princeton, N.J.: Princeton UP, 2007); Barbara Wilinsky, Sure Seaters: The Emergence of Art House Cinema (Minneapolis: U of Minnesota P, 2001). I discuss the cultural significance of film festivals and art house theaters in Michael Z. Newman, Indie: An American Film Culture (New York: Columbia UP, 2011), 48–83.
90. Saturday Night Live (NBC, 1975– ), episode originally aired February 9, 1980.
91. Tom Shales, “The Abscam Tapes on TV,” Washington Post, October 15, 1980, B1.
92. Stuart Weiss, “Home Video: The Next Wave,” Business Week, August 19, 1985, 112–113. On the democratizing rhetoric that often accompanies the introduction of new technologies “that afford expressive capabilities,” see Zizi Papacharissi, A Private Sphere: Democracy in a Digital Age (Cambridge, UK: Polity, 2010), 3.
93. Similarly, Laurie Grindstaff, “Class, Trash and Cultural Hierarchy,” in The Media Studies Reader, ed. Laurie Ouellette (New York: Routledge, 2012), 407–426; 415, argues that appearing on a “trashy” talk show gives working-class people opportunities to participate in media discourse. She writes that “the mere act of conveying a message is more important than…what gets said.”
94. H. F. Waters, “America’s Ugliest Home Videos,” Newsweek, June 15, 1992, 59.
95. Greg Luft, “Camcorders: When Amateurs Go after the News,” Columbia Journalism Review (September/October 1991): 35–37.
96. Laurie Ouellette, “Camcorder Do’s and Don’ts: Popular Discourses on Amateur Video and Participatory Television,” The Velvet Light Trap 36 (Fall 1995): 33–44.
97. Cliff Roth, “Back from the Depths,” Dealerscope Merchandising 34, 12 (December 1992): 34.
98. Waters, “America’s Ugliest Home Videos.”
99. Jon Dovey, “Camcorder Cults,” in The Television Studies Reader, eds. Robert C. Allen and Annette Hill (London: Routledge, 2004), 557–568; 557.
101. On the interpretive flexibility of technological artifacts, a key term in the social construction of technology approach within science and technology studies and communication studies, see Trevor J. Pinch and Wiebe E. Bijker, “The Social Construction of Facts and Artefacts: Or How the Sociology of Science and the Sociology of Technology Might Benefit Each Other,” Social Studies of Science 14, 3 (1984): 399–441.
4. VIDEO AS THE MOVING IMAGE
1. I wrote about my own history of acquiring and discarding media technology in Michael Z. Newman, “To All the VCRs I’ve Loved Before,” Zigzigger, August 6, 2013.
2. Diane Garrett, “VHS, 30, Dies of Loneliness,” Variety, November 14, 2006.
3. David Bordwell, Pandora’s Digital Box: Films, Files and the Future of Movies (Madison: Wis.: The Irvington Way Institute Press, 2012), 10.
4. For instance, Edward Jay Epstein, The Big Picture: The New Logic of Money and Power in Hollywood (New York: Random House, 2005), 19, claims that the revenue from home entertainment was almost five times the theatrical box office in 2003.
5. Caetlin Benson-Allott, Killer Tapes and Shattered Screens: Video Spectatorship from VHS to File Sharing (Berkeley: U of California P, 2013), 1.
6. Todd Spangler, “Netflix Streaming Traffic Grew 30% in Last Six Months: Study,” Multichannel News, April 25, 2012.
7. Jane Feuer, “The Concept of Live Television: Ontology as Ideology,” in Regarding Television: Critical Approaches—An Anthology, ed. E. Ann Kaplan (Los Angeles: American Film Institute, 1983), 12.
8. Anne Friedberg, “The End of Cinema: Multi-Media and Technological Change,” in Reinventing Film Studies, eds. Christine Gledhill and Linda Williams (London: Arnold, 2000), 438–452; 439.
9. Walter S. Baer, Interactive Television: Prospects for Two-Way Services on Cable (Santa Monica, Calif.: Rand Corporation, 1971).
10. Edward Kern, “A Good Revolution Goes on Sale,” Life, October 16, 1970, 47.
11. George Movshon, “The Video Revolution,” Saturday Review, August 8, 1970, 50–52.
12. Vincent Mosco, Pushbutton Fantasies: Critical Perspectives on Videotex and Information Technology (Norwood, N.J.: Ablex, 1982).
13. On analog video’s material flaws, see Lucas Hilderbrand, Inherent Vice: Bootleg Histories of Videotape and Copyright (Durham, N.C.: Duke UP, 2009), 11–16.
14. Mitchell Kapor, “Where Is the Digital Highway Really Heading?,” Wired 1.03 (1993).
15. Paul Ceruzzi, “From Scientific Instrument to Everyday Appliance: The Emergence of Personal Computers, 1970–1977,” History and Technology 13 (1996): 1–31.
16. Francis Balle and Sophie Boukhari, “Wedding Bells for Web and TV,” The UNESCO Courier, November 1999, 43–35; Brian Fenton, “TV/PC Convergence,” Popular Mechanics, October 1996, 38.
17. Frank Rose, “The End of TV as We Know It,” Fortune, December 26, 1996, 58.
18. Kapor, “Where is the Digital Highway Really Heading?”
19. Katie Hafner, “TV Meets the Web,” Newsweek, September 29, 1997.
20. Rose, “The End Of TV As We Know It,” Fortune, December 26, 1996.
21. Marc Graser, “Play or Pay: Networks Eye New Website Uses,” Variety, September 14–20, 1998.
22. Caryn Weiner, “Crossover Dreams,” Entertainment Weekly, April 17, 1998. For a more detailed description of the web series, its production, and its implications for new media aesthetics, see John T. Caldwell, “Second-Shift Media Aesthetics: Programming, Interactivity, and User Flows,” in New Media: Theories and Practices of Digitextuality, eds. Anna Everett and John T. Caldwell (New York: Routledge, 2003), 127–144.
23. “Detectives to Solve ‘Homicide’ Case Online and On Air,” Microsoft News Center, February 1, 1999.
24. Michael Z. Newman, “Free TV: File-Sharing and the Value of Television,” Television and New Media 13, 6 (November 2012): 463–479.
25. Michael Z. Newman and Elana Levine, Legitimating Television: Media Convergence and Cultural Status (New York: Routledge, 2012).
26. David Denby, “Big Pictures: Hollywood Looks for a Future,” The New Yorker, January 8, 2007.
27. Susan Sontag, “The Decay of Cinema,” New York Times, February 25, 1996.
28. Richard Brody, “The Movies Aren’t Dying (They’re Not Even Sick), The New Yorker “The Front Row” blog, September 27, 2012. Some examples of death of movies think pieces not referenced elsewhere are Andrew O’Hehir, “Is Movie Culture Dead?” Salon, September 28, 2012; David Thomson, “American Movies Are Not Dead: They Are Dying,” The New Republic, September 14, 2012; David Denby, “Has Hollywood Murdered the Movies?” The New Republic, September 14, 2012; and Mark Harris, “The Day the Movies Died,” GQ, February 2011. While it has a somewhat different focus, similar themes inform Thomas Doherty, “The Death of Film Criticism,” The Chronicle for Higher Education, February 28, 2010.
29. Godfrey Cheshire, “Death of Film/Decay of Cinema,” New York Press, December 30, 1999.
30. Matt Zoller Seitz, “R.I.P., The Movie Camera: 1888–2011,” Salon, October 13, 2011.
31. Bordwell, Pandora’s Digital Box, 200.
32. Manohla Dargis and A. O. Scott, “Film Is Dead? Long Live Movies: How Digital Is Changing the Nature of Movies,” New York Times, September 6, 2012.
33. Stephen Galloway and Matthew Belloni, “Director Roundtable: 6 Auteurs on Tantrums, Crazy Actors and Quitting While They’re Ahead,” The Hollywood Reporter, November 28, 2012.
34. On the connection between digital technology and complex storytelling, see chapter 7, “Technologies of Agency,” in Newman and Levine, Legitimating Television. The thirteen first-season episodes of House of Cards were released on Netflix instant streaming on February 1, 2013, with much publicity covering the novelty of the distribution strategy and its relation to the practice of binge-watching recorded television episodes.
35. Bob Garfield, “YouTube vs. Boob Tube,” Wired 14 (December 2006).
5. MEDIUM AND CULTURAL STATUS
1. Lucas Hilderbrand, Inherent Vice: Bootleg Histories of Videotape and Copyright (Durham, N.C.: Duke UP, 2009), 35, proposes that videotape is more accurately considered a format than a medium. Caetlin Benson-Allott, Killer Tapes and Shattered Screens: Video Spectatorship from VHS to File Sharing (Berkeley: U of California P, 2013); and Tarleton Gillespie, “The Politics of Platforms,” New Media & Society 12, 3 (2010) look at video as a platform.
2. Examples include Benson-Allott, Killer Tapes and Shattered Screens; Gillespie, “The Politics of Platforms,” 347–364; Hilderbrand, Inherent Vice; Jonathan Sterne, MP3: The Meaning of a Format (Durham, N.C.: Duke UP, 2012); and the Platform Studies series from MIT Press edited by Ian Bogost and Nick Montfort. See Bogost and Montfort, “Platform Studies: Frequently Asked Questions,” Digital Arts and Culture, December 12–15, 2009.
3. Lisa Gitelman, Always Already New: Media, History and the Data of Culture (Cambridge, MA: MIT P, 2006), 5–7.
4. Lynn Spigel, Make Room for TV: Television and the Family Ideal in Postwar America (Chicago: U of Chicago P, 1992).
5. William Boddy, New Media and Popular Imagination: Launching Radio, Television, and Digital Media in the United States (New York: Oxford UP, 2004).
6. Joshua Greenberg, From Betamax to Blockbuster: Video Stores and the Invention of Movies on Video (Cambridge, MA: MIT P, 2008).
7. Marshall McLuhan, Understanding Media: The Extensions of Man (Cambridge, Mass.: MIT P, 1964/1994); Neil Postman, Amusing Ourselves to Death: Public Discourse in the Age of Show Business (New York: Penguin, 1985/2005).
8. David Jay Bolter and Richard Grusin, Remediation: Understanding New Media (Cambridge, Mass.: MIT P, 1999), 78.