
Henry Jenkins, Sam Ford, Joshua Green, “Spreadable Media: Creating Value and Meaning in a Networked Culture” (New York University Press, 2013)
03/09/13 • 52 min
If it doesn’t spread, it’s dead
This is the unifying idea of Henry Jenkins, Sam Ford, and Joshua Green’s new book, Spreadable Media: Creating Value and Meaning in a Networked Culture (New York University Press, 2013) Those six words – If it doesn’t spread, it’s dead – appear on the back cover, on the inside jacket, and in the very first paragraph of the book’s introduction.
The authors focus on the new currencies of media, including user engagement and the rapid flow of information, while debunking the terms we’ve all learned to know and dread, such as “viral” and “Web 2.0.”
Jenkins, Ford, and Green set an ambitious agenda, targeting not one but three audiences: media scholars, communication professionals, and those who create and share media and are interested in learning how media are changing because of it.
“Perhaps the most impactful aspect of a spreadable media environment,” the authors write, “is the way in which we all now play a vital role in the sharing of media texts.”
A review of Spreadable Media can be found in Public Books here.
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Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/economics
If it doesn’t spread, it’s dead
This is the unifying idea of Henry Jenkins, Sam Ford, and Joshua Green’s new book, Spreadable Media: Creating Value and Meaning in a Networked Culture (New York University Press, 2013) Those six words – If it doesn’t spread, it’s dead – appear on the back cover, on the inside jacket, and in the very first paragraph of the book’s introduction.
The authors focus on the new currencies of media, including user engagement and the rapid flow of information, while debunking the terms we’ve all learned to know and dread, such as “viral” and “Web 2.0.”
Jenkins, Ford, and Green set an ambitious agenda, targeting not one but three audiences: media scholars, communication professionals, and those who create and share media and are interested in learning how media are changing because of it.
“Perhaps the most impactful aspect of a spreadable media environment,” the authors write, “is the way in which we all now play a vital role in the sharing of media texts.”
A review of Spreadable Media can be found in Public Books here.
Learn more about your ad choices. Visit megaphone.fm/adchoices
Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/economics
Previous Episode

John E. Murray, “The Charleston Orphan House” (University of Chicago Press, 2013)
There were always and will always be orphans. The question is what to do with them. In his terrific new book The Charleston Orphan House: Children’s Lives in the First Public Orphanage in America (University of Chicago Press, 2013), economic historian John E. Murray tells us how one Southern American city did it in the 18th and 19th centuries. Charleston was a city divided between free whites and enslaved African Americans. The whites felt insecure and, according to Murray, this is one of the reasons they founded and funded America’s first public orphanage. The white-only institution not only helped indigent parents and their children, but it also brought the city’s white population together in a way no other body did. It was an expression of civic humanity, but it was also an expression of white unity against the black masses. Listen to John tell the tale.
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Next Episode

Vicki Mayer, “Below the Line: Producers and Production Studies in the New Television Economy”
In Below the Line: Producers and Production Studies in the New Television Economy (Duke University Press, 2011), Vicki Mayer provides a major theoretical contribution to media production studies. The book self-consciously challenges the idea of the “TV producer” that industry figures and scholars alike often assume. Mayer traces how the “TV producer” category came to be associated with–indeed defined by–creativity and professionalism. Below the Line upends this definition, through four empirical case studies of largely invisible television production: (1) television set assemblers in Brazil, (2) soft-core video cameramen in New Orleans, (3) reality TV casters, and (4) local cable television citizen regulators. The book weaves a theoretical thread through these ethnographic portraits that are themselves framed by political economic analysis of the industry and the broader economy. What once seemed stable–the idea that TV producers are above-the-line creative professionals–lies in elegantly written tatters by the book’s conclusion.
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