Eve ng lgbt professional#

“Between Text, Paratext, and Context: Queerbaiting and the Contemporary Media Landscape.” Transformative Works and Cultures 24. “LGBT Advocacy and Transnational Funding in Singapore and Malaysia.” Development and Change 49 (4): 1093–1114. “Contesting the Queer Subfield of Cultural Production: Paratextual Framings of Carol and Freeheld.” Journal of Film and Video 70 (Fall/Winter): 8–23. “Romcom without Romonormativity, Gays without Homonormativity: Examining the People Like Us Web Series.” New Review of Film and Television Studies 18 (1): 83–100. “A Queer ‘Socialist Brotherhood’: the Guardian Web Series, Boys Love Fandom, and the Mainland Chinese State.” Feminist Media Studies 20 (4): 479–495. “Location, Location, Location? The Politics of ICA Conference Venues.” Communication, Culture & Critique 13 (2): 265–269. “#CommunicationSoWhite: Race and Power in the Academy and Beyond.” Introductory essay, special issue, “#CommunicationSoWhite,” Communication, Culture & Critique 13 (2): 143–151. Ng, Eve, Khadijah Costley White, and Anamik Saha. “No Grand Pronouncements Here … : Reflections on Cancel Culture and Digital Media Participation.” Invited essay, 20th anniversary issue of Television & New Media 21 (6): 621–627. “Unmasking Masculinity: Considering Gender, Science, and Nation in Responses to Covid-19.” Feminist Studies 46 (3): 694–703. “The ‘Gentleman-like’ Anne Lister of Gentleman Jack: Reconsidering Queerness, Class, and Prestige in ‘Quality’ Period Dramas.” International Journal of Communication 15: 2397–2417.

“Queer Production Studies.” In the Oxford Research Encyclopedia of Communication. See Eve Ng’s personal page for more information. in Linguistics from the State University of New York at Buffalo, and a Bachelor of Arts and a Bachelor of Science with Honours from the University of Melbourne. in Communication and a Graduate Certificate in Advanced Feminist Studies from UMass-Amherst, and also has a Ph.D. She has also been interviewed by journalists and documentary makers about media, representation, and culture.ĭr. Howard Tumber and Sylvio Waisbord, 2017). Gail Dines and Jean Humez, 2011, 2014) and the Routledge Companion to Media and Human Rights (Eds. She has published in journals including Communication, Culture & Critique, Development and Change, Feminist Media Studies, Feminist Studies, International Journal of Communication, Journal of Film and Video, Popular Communication, Television & New Media, and Transformative Works and Culture, as well as in Gender, Race and Class in Media (Sage, Eds. Although social networking and crowdfunding platforms enable some content diversity, the potential of digital technologies is tempered by the interaction of norms for commercial online content with the habitus of key LGBT gatekeepers.Eve Ng’s research on media, culture, and politics includes several interrelated areas: queer media production and consumption, digital media cultures, LGBTQ activism, and race, nation, and postcoloniality. Furthermore, while digital media facilitates the targeting of specific audience segments, the expectation for web material to be 'fluffy' militates against critical analysis at highly trafficked sites. Besides commercial considerations, these developments reflect 'post-gay' integrationist discourses that also comprise mainstream narratives of gay identity.

Eve ng lgbt professional#

The professional dispositions of Bravo's and Logo's cultural workers have informed programming strategies decentering LGBT-focused material. At the same time, with the increasing professionalization of digital media labor, boundary crossings associated with convergence have declined. A new cohort of LGBT cultural workers has emerged through economic and cultural convergence, bringing fan producers and writers from gay print into the networks. In addition to LGBT channel content, in recent years Bravo and Logo have purchased or launched LGBT-focused websites that began with the involvement of non-media professionals. As a production study of LGBT digital media at two networks, Bravo and Logo, it takes a multi-methods approach, including interviews with cultural workers, attendance at industry events, analysis of primary documents and site content, and the use of secondary sources.

This dissertation is an account of cultural change associated with incorporations of digital media and LGBT media into the commercial domain.