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This study examines the impact of the COVID-19 pandemic on emotional management and social exchanges in the hospitality industry, focusing on food and beverage workers in Tel Aviv and New Orleans. Through 66 in-depth interviews conducted between 2021 and 2022, we explore how workers navigated altered social dynamics, heightened emotional labor, and moral dilemmas. Our analysis, grounded in Social Exchange Theory, dramaturgical theory, and the sociology of emotions, reveals three key themes: social and emotional distancing, crisis-driven emotional management, and the reconceptualization of hospitality between altruism and pragmatism. Despite different cultural contexts, workers in both cities faced similar challenges, highlighting the globalized nature of the industry. The pandemic disrupted traditional reciprocal exchanges, forcing a reevaluation of hospitality practices. Finally, this study stresses how emotional and moral dilemmas became central to social exchanges during the pandemic.

\"Behind-the-scenes\" stories of ranting directors, stingy producers, temperamental actors, and the like have fascinated us since the beginnings of film and television. Today, magazines, websites, television programs, and DVDs are devoted to telling tales of trade lore—from on-set antics to labor disputes. The production of media has become as storied and mythologized as the content of the films and TV shows themselves. Production Studies is the first volume to bring together a star-studded cast of interdisciplinary media scholars to examine the unique cultural practices of media production. The all-new essays collected here combine ethnographic, sociological, critical, material, and political-economic methods to explore a wide range of topics, from contemporary industrial trends such as new media and niche markets to gender and workplace hierarchies. Together, the contributors seek to understand how the entire span of \"media producers\"—ranging from high-profile producers and directors to anonymous stagehands and costume designers—work through professional organizations and informal networks to form communities of shared practices, languages, and cultural understandings of the world. This landmark collection connects the cultural activities of media producers to our broader understanding of media practices and texts, establishing an innovative and agenda-setting approach to media industry scholarship for the twenty-first century. Contributors: Miranda J. Banks, John T. Caldwell, Christine Cornea, Laura Grindstaff, Felicia D. Henderson, Erin Hill, Jane Landman, Elana Levine, Amanda D. Lotz, Paul Malcolm, Denise Mann, Vicki Mayer, Candace Moore, Oli Mould, Sherry B. Ortner, Matt Stahl, John L. Sullivan, Serra Tinic, Stephen Zafirau \" Production Studies 's collection of insightful essays by academics from a range of disciplines presents a superb example of precisely the kind of complex, collaborative work their essays elucidate. Incorporating material from interviews with a range of industry professionals, interrogating both industry practices and the scholarship that has explored them, this book speaks to some of the most pressing issues in the current media studies agenda.\"-- Michele Hilmes , author of NBC: America's Network \"Arriving at a time when the analysis of cultural and material production, in all its forms, has perhaps never been so critical, this rich and diverse collection of essays is a vital contribution to media production studies. The contributors offer a variety of insightful accounts of production culture, approaching it from perspectives including anthropology, cultural studies, feminism, and political economy, and highlighting many different production modes, levels, and locales. Production Studies is the new benchmark for this important and rapidly evolving field, and will influence media scholars and practitioners for years to come.\"-- Derek Kompare , author of Rerun Nation: How Repeats Invented American Television Vicki Mayer is Assistant Professor of Communication at Tulane University. She is author of Producing Dreams , Consuming Youth: Mexican Americans and Mass Media . Miranda J. Banks is Assistant Professor of Visual and Media Arts at Emerson College. John Thornton Caldwell is Professor of Film, Television, and Digital Media at UCLA. He has authored and edited several books, including Televisuality: Style, Crisis and Authority in American Television , Electronic Media and Technoculture , New Media: Digitextual Theories and Practices , and Production Culture: Industrial Reflexivity and Critical Practice in Film and Television . Introduction: Production Studies: Roots and Routes, Vicki Mayer, Miranda Banks, and John Thornton Caldwell. Part One: Histories of Media Production Studies. 1. Bringing the Social Back In: Studies of Production Cultures and Social Theory, Vicki Mayer . 2. Industry-Level Studies and the Contributions of Gitlin’s Inside Prime Time , Amanda Lotz 3. Leo C. Rosten's Hollywood: Power, Status, and the Primacy of Economic and Social Networks in Cultural Production, John L. Sullivan. 4. Privilege and Distinction in Production Worlds: Copyright, Collective Bargaining, and Working Conditions in Media Making, Matt Stahl . Part Two: Producers: Selves and Others. 5. Self-Serve Celebrity: The Production of Ordinariess and the Ordinariness of Production in Reality Television, Laura Grindstaff. 6. Feminism Below-the-Line: Defining Feminist Production Studies, Miranda J. Banks. 7. It's Not TV, It’s Brand Management TV: The Collective Author(s) of the Lost Franchise, Denise Mann. 8. Showrunning the Doctor Who Franchise: A Response to Denise Mann, Christine Cornea . Part Three: Production Spaces: Centers and Peripheries. 9. Liminal Places and Spaces: Public/Private Considerations, Candace Moore. 10. \"Not in Kansas Anymore\": Transnational Collaboration in Television Science Fiction Production, Jane Landman . 11. Crossing the Border: Studying Canadian Television Production, Elana Levine. 12. Borders of Production Research: A Response to Elana Levine, Serra Tinic . Part Four: Production as Lived Experience. 13. Studying Sideways: Ethnographic Access in Hollywood, Sherry Ortner. 14. Audience Knowledge and the Everyday Lives of Cultural Producers in Hollywood, Stephen Zafirau 15. Lights, Camera, but Where’s the Action? Actor-Network Theory and the Production of Robert Connolly's Three Dollars , Oli Mould . 16. Both Sides of the Fence: Blurred Distinctions in Scholarhip and Production (A Portfoloio of Interviews), John Caldwell . The Craft Association, Paul Malcolm . Hollywood Assistanting, Erin Hill . The Writer's Room, Felicia D. Henderson . Select Bibliography. List of Contributors. Index.

In 2012–2013, one of the largest U.S. newspaper chains, Advance Publications, determined its main product was no longer newspapers but news, and switched from daily print publication of The Times-Picayune of New Orleans to three days a week, while upgrading its presence online (“Digital First”). More than two hundred employees, including half the newsroom, were laid off in one of the poorest U.S. cities with among the lowest literacy rates and percentages of households with Internet access. The decision raised a furor in New Orleans. Beginning with an historical overview of The Times-Picayune, from its 1837 founding through the present, The Times-Picayune in a Changing Media World: The Transformation of an American Newspaper describes the crucial role the dailies played in the 1960 school desegregation crisis, as well as the impact of the switch on print coverage of hard news in the context of media developments, and provides a detailed analysis of specific print editions of The Times-Picayune and its digital formats conducted before and after the switch. This study of the evolution of The Times-Picayune is instructive for all concerned with what the transformation might portend for the news profession and for the traditional role of the press in the digital age.

Exploring how we make, distribute, and consume today's media systems Media backends--the electronics, labor, and operations behind our screens--significantly influence our understanding of the sociotechnical relations, economies, and operations of media. Lisa Parks, Julia Velkova, and Sander De Ridder assemble essays that delve into the evolving politics of the media infrastructural landscape. Throughout, the contributors draw on feminist, queer, and intersectional criticism to engage with infrastructural and industrial issues. This focus reflects a concern about the systemic inequalities that emerge when tech companies and designers fail to address workplace discrimination and algorithmic violence and exclusions. Moving from smart phones to smart dust, the essayists examine topics like artificial intelligence, human-machine communication, and links between digital infrastructures and public service media alongside investigations into the algorithmic backends at Netflix and Spotify, Google's hyperscale data centers, and video-on-demand services in India. A fascinating foray into an expanding landscape of media studies, Media Backends illuminates the behind-the-screen processes influencing our digital lives. Contributors : Mark Andrejevic, Philippe Bouquillion, Jonathan Cohn, Faithe J. Day, Sander De Ridder, Fatima Gaw, Christine Ithurbide, Anne Kaun, Amanda Lagerkvist, Alexis Logsdon, Stine Lomborg, Tim Markham, Vicki Mayer, Rahul Mukherjee, Kaarina Nikunen, Lisa Parks, Vibodh Parthasarathi, Philipp Seuferling, Ranjit Singh, Jacek Smolicki, Fredrik Stiernstedt, Matilda Tudor, Julia Velkova, and Zala Volcic

Language and other representational forms are media for creativity and action. Passed along through social processes, they enable us to speak in our own voices and express the material conditions that have shaped us. Theories of voice and social action have underlined numerous strands of media activism, from the pre-Stalinist Labor Press in the early Soviet Union to the NAACP's The Crisis magazine to Pacifica Radio and Bread and Puppet Theater. Media industries are rife with creative teams who've worked with each other since the old college days. With so many people working together even for a matter of weeks, the classroom tends to reproduce voices that represent the shared qualities of the whole, or lack thereof. If student media production reflects the quality of the clustered community, and we do not pay attention to or assess the social condition represented therein, then we should not be surprised at the narrow scope for media creativity and action, the lack of pluralism, and the abundance of highly skilled media pieces that all say very little.

Abstract This article looks at the impacts that digital television technologies have had and likely will have in Manaus, Amazonas from the perspectives of people involved in manufacturing and development. Located both centrally in terms of global manufacturing and peripherally in terms of digital television policy, this article explores the anxieties, uncertainties, and ambivalences that the introduction of digital television has evoked with those charged with producing these technologies.Keywords: digital television, Manaus, manufacturing, production  Resumo Este artigo examina os impactos que a TV digital tem tido e continuará tendo em Manaus, no Amazonas, na perspectiva das pessoas envolvidas na manufatura e no desenvolvimento dos produtos. Localizando-se centralmente em termos da fabricação mundial e perifericamente em termos da política para televisão digital, este artigo explora as ansiedades, incertezas e ambivalências que a introdução da TV digital tem despertado naqueles que estão encarregados de produzir essas tecnologias. Palavras-chave televisão digital, Manaus, manufatura, produção 

Not all infrastructures are invisible, quips the anthropologist Brian Larkin, in an affirmation of the social aspects of the massive public and private efforts to plan, develop, and manage flows for systems of water, energy, and transportation.¹ These infrastructures have frequently been touted as totems of settlement and civilization, followed by nationalism and modernism. They were both hydroelectric dams and airport terminals. The more recent privatization of such common utilities and services has made their mediation of life more visible alternatively as signs of economic progress or crass commercialism. All of these public manifestations of infrastructures are necessary to “emplace”

Mayer examines Mardi Gras as a commodified spectacle of female nudity in live performance, softcore video, and tourism. Mardi Gras brings together entrepreneurs and consumers in ways that reveal gender, race, and class relations not only in today's U.S. but also in America's consumption of its global Others.