Matthew Freeman

With comedic precision, this thought-provoking two-hander dissects a tense visit between a struggling young fundraiser and an affluent liberal donor as they navigate the treacherous power dynamics at the heart of charitable giving.

This book brings genre back to the forefront of the current transmedia trend. Genres are perhaps the most innately transmedial of media constructs, formed as they are from all kinds of industrial, technological and discursive phenomena. Yet, few have considered how genre works in a multiplatform context. This book does precisely that, making a uniquely transmedial contribution to the study of genre in the age of media convergence. The book interrogates how industrial, technological and participatory transformations of digital platforms and emerging technologies reshape workings of genre. The authors consider franchises such as Star Wars, streaming platforms such as Netflix, catch-up services such as ITV Hub, creative technologies such as virtual reality, and beyond. In setting the stage for the revival of genre theory in contemporary transmedia scholarship, this book pushes forward understandings of multiplatform media and the emerging form and function of genre across contemporary culture.

An accessible introduction to the world of The Walking Dead, this book looks across platforms and analytical frameworks to characterize the fictional world of The Walking Dead and how its audiences make use of it.From comics and television to social media, apps, and mobile games, utilizing concepts derived from literary studies, media studies, history, anthropology, and religious studies, Matthew Freeman examines the functions and affordances of new digital platforms. In doing so, he establishes a new transdisciplinary framework for analyzing imaginary worlds across multiple media platforms, bolstering the critical arena of world-building studies by providing a greater array of vocabulary, concepts, and approaches.The World of The Walking Dead is an engaging exploration of stories, their platforms, and their reception, ideal for students and scholars of world-building, film and TV studies, new media, and everything in-between.

A new collection of poems from Matthew Freeman which documents his recovery and everything he's unearthed while battling a dual diagnosis.

Tracing the industrial emergence of transmedia storytelling—typically branded a product of the contemporary digital media landscape—this book provides a historicised intervention into understandings of how fictional stories flow across multiple media forms. Through studies of the storyworlds constructed for The Wizard of Oz, Tarzan, and Superman, the book reveals how new developments in advertising, licensing, and governmental policy across the twentieth century enabled historical systems of transmedia storytelling to emerge, thereby providing a valuable contribution to the growing field of transmedia studies as well as to understandings of media convergence, popular culture, and historical media industries.

An accessible introduction to the world of The Walking Dead, this book looks across platforms and analytical frameworks to characterize the fictional world of The Walking Dead and how its audiences make use of it.From comics and television to social media, apps, and mobile games, utilizing concepts derived from literary studies, media studies, history, anthropology, and religious studies, Matthew Freeman examines the functions and affordances of new digital platforms. In doing so, he establishes a new transdisciplinary framework for analyzing imaginary worlds across multiple media platforms, bolstering the critical arena of world-building studies by providing a greater array of vocabulary, concepts, and approaches.The World of The Walking Dead is an engaging exploration of stories, their platforms, and their reception, ideal for students and scholars of world-building, film and TV studies, new media, and everything in-between.

Helen meets with James in a quiet field somewhere far from the city. Years later she meets with Marcus in a crowded restaurant in Los Angeles. These two goodbyes explore the process of losing the people we love and how we remember the people we don't.

Tracing the industrial emergence of transmedia storytelling—typically branded a product of the contemporary digital media landscape—this book provides a historicised intervention into understandings of how fictional stories flow across multiple media forms. Through studies of the storyworlds constructed for The Wizard of Oz, Tarzan, and Superman, the book reveals how new developments in advertising, licensing, and governmental policy across the twentieth century enabled historical systems of transmedia storytelling to emerge, thereby providing a valuable contribution to the growing field of transmedia studies as well as to understandings of media convergence, popular culture, and historical media industries.

Control, Conquer, and Prevail Everybody's biased. The truth is, we all harbor unconscious assumptions that can get in the way of our good intentions and keep us from building authentic relationships with people different from ourselves. Tiffany Jana and Matthew Freeman use vivid stories and fun (yes, fun ) exercises and activities to help us reflect on our personal experiences and uncover how our hidden biases are formed. By becoming more self-aware, we can control knee-jerk reactions, conquer fears of the unknown, and prevail over closed-mindedness. In the end, Jana and Freeman's central message is that you are not the problem-but you can be the solution.

This guidebook, aimed at those interested in studying media industries, provides direction in ways best suited to collaborative dialogue between media scholars and media professionals.While the study of media industries is a focal point at many universities around the world – promising, as it might, rich dialogues between academia and industry – understandings of the actual methodologies for researching the media industries remain vague. What are the best methods for analysing the workings of media industries – and how does one navigate those methods in light of complex deterrents like copyright and policy, not to mention the difficulty of gaining access to the media industries?Responding to these questions, Industrial Approaches to Media offers practical, theoretical, and ethical principles for the field of media industry studies, providing its first full methodological exploration. It features key scholars such as HenryJenkins, Michele Hilmes, Paul McDonald and Alisa Perren.

Matthew Freeman's newest poetry collection presents a romantic vision wherein the environment can range from ecstatic to sinister. Steeped in urban shamanism, the poems reflect a desperate search for the American Sublime, the author's search for the clarity of salvation, his love of language, and his hope that the poor and destitute will not be forgotten.

Dramatic Comedy / 5m, 3f Approximate running time: 1 hour and 45 minutes, no intermission. Various settings, some real, some imaginary, in Pennsylvania When Gordon's wife vanishes, the only clue to her whereabouts is a bookmark in dog-eared copy of Traveling to Montpelier. With little help to be found at work, from his son, or from the police, Gordon takes off to a rural bookstore to find some answers. His journey brings him to the town of Cornersville, in the wilds of Pennsylvania. Through a fractured narrative that is half-mystery and half-memory, we learn about Gordon's marriage, his relationship with his son, his work-life and his wife's bizarre entanglements with a mysterious stranger. We learn, too, about the nature of the landscape unique to the play: a magical universe with physics and laws that can both free the characters from their own stifling identities, and trap them as well. Synchronicity, dreams, and alchemy combine in this exploration of what it means to be able to - and unable to - change. At turns both scathingly funny and disturbingly compelling, When Is A Clock features Freeman's celebrated deconstruction of American culture - which has been called "nonviolent, though as savage as any slasher film" by the NY Times.