In this dissertation, I assert that a contradictory aesthetic has remained and been reborn in the U.S. daytime soap opera through time and technology; I call this the “everyday implausible.” Using textual analysis and archival research, I follow this genre from its beginnings on radio, through its move to television...
This project centers set design as the primary aesthetic, economic, and sociopolitical driver of the sitcom genre’s emergence and development during the first half of the twentieth century. My work treats sitcom set design as a category of historical architecture that can be (and has been) mapped, toured, built, and...
This dissertation explores the relationship between dance cultures and media cultures in the United States between the 1940s and the 1960s, when both were experiencing a period of multiplicity and flux in their forms. Bringing together theories and methodologies from dance studies, media studies, and cultural history, it considers how...
In the age of what George W. Bush has called a global democratic revolution, the freedom to consume an ever-expanding variety of images and goods in the global marketplace is often equated with the conditions of democratic freedom. With just such rhetorical elisions in mind, this dissertation examines the discursive...
This project explores historical questions of televisual form and cultural production, centering on the proliferation of media texts that mobilize real-life misfortune as a form of entertainment in U.S. television and culture. Specifically, it examines how a variety of "reality" formats in contemporary television stage and exploit spectacles of failure,...
Television's history has at numerous points been punctuated by pronouncements that technological innovations will improve its programming, empower its audiences, and heal the injuries it has inflicted on American society. This enduring faith in the inevitability and imminence of television's technological salvation is the subject of this dissertation. "TV Repair"...
This dissertation provides a study of local Black media development in Detroit in the decade following the 1967 Rebellion, as Detroit became a majority Black city. I argue that Black Detroiters not only produced documentaries that challenged local white discourse within what George Lipsitz terms “a Black spatial imaginary,†but...