Titlebook: Digital Participatory Culture and the TV Audience; Everyone’s a Critic Sandra M. Falero Book 2016 The Editor(s) (if applicable) and The Aut

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Berlin und das Pathologische Institut, taught each other the tools of cultural television analysis. Falero also explores the ways members created community spaces where they could talk about their everyday lives, as well as meet up at real world events like . Conventions or group viewing activities.

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BOGUS

,“The Industry”: A Brief History of Audiences In and Out of Control,ience criticism with older models that date back to the sixteenth century, namely theater audiences and the development of “audience sovereignty” as a concept. Through a discussion of the professionalization of media in the nineteenth century, she documents the end of “audience sovereignty” and the

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痴呆

,“Network Interference”: Policing Conversation and Political Discourse, to own the site. The technology used by the site, and the management of “infractions” through it, created real limitations on discussion. The labyrinth of rules that developed as the membership grew served to stifle discussion, particularly political speech. A study of the fringe spaces of . shows

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,“Permanent Hiatus”: The Death of ,,were just part of the reason the site declined. By the end of the study in 2010, the rise of Twitter and other short-form discussion platforms on social media were fast becoming more popular ways to discuss television programs online. Falero chronicles the discussion of the site’s cultural relevance

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In-Situ

,“Sorkin Situations”: The Television Auteur Meets the Digital Age,