“Books have used the ‘XYZ: A Novel’ format since the 17th century, when realistic fiction started getting popular. The term ‘novel’ was a way to distinguish these more down-to-earth stories from the fanciful ‘romances’ that came before … Then, as now, it was a tag that identified the kind of literature you were getting yourself into.” – Vox
Category: AUDIENCE
What Comedy Tells Us About Ourselves — And How We’re Changing
Scholar of comedy Matthew McMahan: “Just as Michel Foucault encourages historians to look to moments of rupture and discontinuity when trying to decipher how a culture thinks and acts, I suggest students of comedy look to the moments when a successful joke simply stops landing with its audience. The moment when a loud guffaw quickly shifts to an appalled gasp can tell us a lot about how a culture is changing.” – HowlRound
After Series Of Flops, Amazon Re-Orients Its Filmmaking Product Line
Amazon Studios chief Jennifer Salke: “What we struggled with, I think, was putting too much focus on a narrow prestige lane. I don’t think we had diverse-enough points of view in the storytelling.” So, in addition to the “prestige lane,” the company will add “lanes” in erotic thrillers, horror titles, and (later) young-adult movies. – The New York Times
If Netflix’s Roma Wins Oscars’ Best Picture, It Will Change The Movie Business Forever
If a film primarily distributed online wins, the debate in Hollywood about what constitutes cinema is over. It would strike a blow to the big multiplex chains, which have refused to show “Roma” because Netflix offered them an exclusive play period of only three weeks; three months is the norm. As far as box office figures, Netflix has said the film has appeared in about 250 theaters in the United States since it was released on Nov. 21, but it refuses to disclose ticket sales. A win by “Roma” could embolden old-line studios like Universal and Warner Bros. to shorten their own theatrical “windows.” – The New York Times
Getting Fully Naked (And Getting It On) Onstage
The actors are OK with all of this: “The nudity has struck some theatergoers as so extreme and the sex so prolonged that the actors can hear members of the audience gasp when it begins. Occasionally someone will say, ‘Oh no, oh no, oh no! Cora Vander Broek says of the moment the stage lights rise on her character, Jules, straddling Wheeler (played by Ian Barford) in bed.” – Los Angeles Times
Why Is There Such A Misstep-Filled Scramble To Make The Oscars Shorter?
The producer: “There are so many things to balance. Some viewers want to see glamour. You have to pay attention to where there is humor and where there is music. When do we guess that people at home might get up to make popcorn in the kitchen, and what can we have on right after that to bring them back?” – The New York Times
Rethinking The Purpose Of British Arts Institutions
Take a look at Battersea Arts Centre, which “no longer focuses on creating the ‘future of theatre’—a laudable purpose, but not one of much interest to the many who doubt theatre is for them. Instead, it concentrates on inspiring and supporting people to take creative risks to shape their own and their communities’ future, whether those people define themselves as artists or not.” – HowlRound
What Was Up With The Crude Racial And Sexual Stereotype Jokes That Filled This Carnegie Hall Performance?
Everyone was in on the joke, or at least everyone on stage was. But the audience wasn’t sure what to do or how to react. “The concept, whatever its good intentions, tempts comparisons with the history of African-American performers in blackface, acting out stereotypes of themselves for predominantly white audiences. It also risks feeding the common perception of Asian-Americans as perpetual foreigners.” (Of course, not everyone agrees.) – The New York Times
Why Do Audiences Love Comedy, But Not Comedies?
That’s a bit of an exaggeration – audiences still enjoy seeing comedies at the theatre. But stand-up specials are eating theatre’s lunch. “TV was long seen as the enemy of theatre. … But TV was always fundamentally different than theatre. Comedy, on the other hand, shares a lot. It is a live art form, and the same romantic defenses you often hear of theatre you can also hear from comics—the beauty of its ephemerality, the present-tense nature of the form in a time when everyone is on screens.” – American Theatre
The Viral Influencer Market – How Organizing Attention Works
Sociologists Jennifer Earl and Katrina Kimport have studied the ways that protest tactics and schemes have spread out of political culture and into other spaces, especially entertainment. They coined the phrase “ubiquitous movement practices” to describe how petitions, boycotts, and the like—once tactics used solely for political goals—are now deployed across all kinds of social and cultural concerns from trying to ensure Family Guy remains on the air to trying to get the Postal Service “to issue a Marx Brothers stamp.” – The Atlantic