Between 1995 and 2000, the number of music videos airing on MTV dropped by 36 percent. As an alternative to the twenty-four-hour video jukebox the channel had offered during its early years, MTV created an original cycle of scripted reality shows, including Laguna Beach, The Hills, The City, Catfish, and Jersey Shore, which were aimed at predominantly white youth audiences. In Millennials Killed the Video Star Amanda Ann Klein examines the historical, cultural, and industrial factors leading to MTV's shift away from music videos to reality programming in the early 2000s and 2010s. Drawing on interviews with industry workers from programs such as The Real World and Teen Mom, Klein demonstrates how MTV generated a coherent discourse on youth and identity by intentionally leveraging stereotypes about race, ethnicity, gender, and class. Klein explores how this production cycle, which showcased a variety of ways of being in the world, has played a role in identity construction in contemporary youth culture-ultimately shaping the ways in which Millennial audiences of the 2000s thought about, talked about, and embraced a variety of identities.

Between 1995 and 2000, the number of music videos airing on MTV dropped by 36 percent. As an alternative to the twenty-four-hour video jukebox the channel had offered during its early years, MTV created an original cycle of scripted reality shows, including Laguna Beach, The Hills, The City, Catfish, and Jersey Shore, which were aimed at predominantly white youth audiences. In Millennials Killed the Video Star Amanda Ann Klein examines the historical, cultural, and industrial factors leading to MTV's shift away from music videos to reality programming in the early 2000s and 2010s. Drawing on interviews with industry workers from programs such as The Real World and Teen Mom, Klein demonstrates how MTV generated a coherent discourse on youth and identity by intentionally leveraging stereotypes about race, ethnicity, gender, and class. Klein explores how this production cycle, which showcased a variety of ways of being in the world, has played a role in identity construction in contemporary youth culture-ultimately shaping the ways in which Millennial audiences of the 2000s thought about, talked about, and embraced a variety of identities.

With sequels, prequels, remakes, spin-offs, or copies of successful films or franchises dominating film and television production, it sometimes seems as if Hollywood is incapable of making an original film or TV show. These textual pluralities or multiplicities-while loved by fans who flock to them in droves-tend to be dismissed by critics and scholars as markers of the death of high culture. Cycles, Sequels, Spin-offs, Remakes, and Reboots takes the opposite view, surveying a wide range of international media multiplicities for the first time to elucidate their importance for audiences, industrial practices, and popular culture. The essays in this volume offer a broad picture of the ways in which cinema and television have used multiplicities to streamline the production process, and to capitalize on and exploit viewer interest in previously successful and/or sensational story properties. An impressive lineup of established and emerging scholars talk seriously about forms of multiplicity that are rarely discussed as such, including direct-to-DVD films made in Nigeria, cross-cultural Japanese horror remakes, YouTube fan-generated trailer mash-ups, and 1970s animal revenge films. They show how considering the particular bonds that tie texts to one another allows us to understand more about the audiences for these texts and why they crave a version of the same story (or character or subject) over and over again. These findings demonstrate that, far from being lowbrow art, multiplicities are actually doing important cultural work that is very worthy of serious study.

A series of movies that share images, characters, settings, plots, or themes, film cycles have been an industrial strategy since the beginning of cinema. While some have viewed them as "subgenres," mini-genres, or nascent film genres, Amanda Ann Klein argues that film cycles are an entity in their own right and a subject worthy of their own study. She posits that film cycles retain the marks of their historical, economic, and generic contexts and therefore can reveal much about the state of contemporary politics, prevalent social ideologies, aesthetic trends, popular desires, and anxieties. American Film Cycles presents a series of case studies of successful film cycles, including the melodramatic gangster films of the 1920s, the 1930s Dead End Kids cycle, the 1950s juvenile delinquent teenpic cycle, and the 1990s ghetto action cycle. Klein situates these films in several historical trajectories—the Progressive movement of the 1910s and 1920s, the beginnings of America's involvement in World War II, the "birth" of the teenager in the 1950s, and the drug and gangbanger crises of the early 1990s. She shows how filmmakers, audiences, film reviewers, advertisements, and cultural discourses interact with and have an impact on the film texts. Her findings illustrate the utility of the film cycle in broadening our understanding of established film genres, articulating and building upon beliefs about contemporary social problems, shaping and disseminating deviant subcultures, and exploiting and reflecting upon racial and political upheaval.