Derek Kompare is chair and associate professor in the Division of Film and Media Arts. His research interests focus on media formations, i.e., how particular media forms, technologies, and institutions coalesce, develop, and age. He has written articles on television history and form for several anthologies and journals, and is the author of Rerun Nation: How Repeats Invented American Television (Routledge, 2005), a study of CSI: Crime Scene Investigation (Wiley-Blackwell, 2010), and co-editor of Making Media Work: Cultures of Management in the Entertainment Industries (NYU Press, 2014). At SMU, Kompare teaches courses on media industries, media theory, media history, media fandom, video games, and various genres.
Ph.D., University of Wisconsin-Madison
Media forms, industries and institutions; media history; media technologies; media fandom
Runner-Up, 2006 Society for Cinema and Media Studies Katherine Singer Kovacs Book Award (for Rerun Nation: How Repeats Invented American Television [Routledge, 2005])
|FILM 1302 Contemporary Media Industries|
|FILM 3353 American Broadcast History|
|FILM 3395 Topics in Film and Media Studies (Video Games; Media Fandom)|
|FILM 3396 Topics in Film and Media Industries|
Making Media Work: Cultures of Management in the Entertainment Industries (co-editor) (New York: NYU Press, 2014).
CSI (Boston: Wiley-Blackwell, 2010).
Rerun Nation: How Repeats Created American Television (New York: Routledge, 2005).
“The Peabody Awards Collection and the Production of American Local Media History,” in Ethan Thompson, Lucas Hatlen, and Jeffrey P. Jones, eds., Television History, the Peabody Archive, and Cultural Memory (Athens, GA: University of Georgia Press, 2019), 33-45.
“Fan Curators and the Gateways Into Fandom,” in Melissa A. Click and Suzanne Scott, eds., The Routledge Companion to Media Fandom (New York: Routledge, 2018), 107-13.
“MeTV: Old-Time TV’s Last Stand?” in Derek Johnson, ed., From Networks To Netflix: A Guide to Changing Channels (New York: Routledge, 2018), 85-93.
“Flow,” in Laurie Ouellette and Jonathan Gray, eds., Keywords for Media Studies (New York: NYU Press, 2017), 72-75
“The Twilight Zone: Landmark Television,” in Jason Mittell and Ethan Thompson, eds., How to Watch TV (New York: NYU Press, 2014)
“More ‘Moments of Television’: Online Cult Television Authorship,” in Michael Kackman et al, eds., Flow TV: Television in the Age of Media Convergence (New York: Routledge, 2010), 95-113.
“The Benefits of Banality: Domestic Syndication in the Post-Network Era,” in Amanda D. Lotz, ed., Beyond Prime Time: Television Programming in the Post-Network Era (New York: Routledge, 2009) 55-74.
“Extraordinarily Ordinary: The Osbournes as ‘An American Family’,” in Susan Murray and Laurie Ouellette, eds., Reality TV: Remaking Television Culture (2nd ed.) (New York: NYU Press, 2009) 100-19.
“I've Seen This One Before: The Construction of ‘Classic TV’ on Cable Television,” in Janet Thumim, ed., Small Screens, Big Ideas: Television in the 1950s (London: I.B. Tauris, 2001) 19-34.
“The Internet and Media Studies,” Journal of Cinema and Media Studies 59:1 (2019).
“Filling the Box: Television in Higher Education,” Cinema Journal 50:4 (2011) 161-65.
“Reruns 2.0: Revising Repetition for Multi-Platform Television Distribution,” Journal of Popular Film and Television 38:2 (2010) 79-83.
“Remapping Media and Media Studies,” The Velvet Light Trap 62 (Fall 2008) 70-71.
“Publishing Flow: DVD Box Sets and the Reconception of Television,” Television and New Media 7:4 (2006) 335-60.
“’Greyish Rectangles’: Creating the Television Heritage in the 1970s,” Media History 9:2 (2003) 153-69.