Areas of Study

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Derek Kompare

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Derek Kompare

Derek Kompare

Chair and Associate Professor of Film and Media Arts

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, Derek teaches courses on media industries, media theory, media history, media globalization, comics, video games, serialized television, crime television, and science fiction.


Ph.D. in Media and Cultural Studies, University of Wisconsin-Madison, 1999
M.A. in Media and Cultural Studies, University of Wisconsin-Madison, 1994
B.A. in Media Arts, University of Arizona, 1990


Media forms, industries and institutions; media history; media technologies; comics; science fiction; video games; media fandom


FILM 1302 (Contemporary Media & Culture)
FILM 2332 (American Popular Film and Television)
FILM 3300 (Film and Television Genres)
FILM 3314 (Comics: From Panels to Screens)
FILM 3353 (American Broadcast History)
FILM 3395 (Topics in Film and Media Studies)
FILM 4399 (Global Media Systems)



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).

Anthology Chapters

“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.

Journal Articles

“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.

“Futures of Entertainment 3,” Cinema Journal 49:1 (2009) 116-20.

“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.


Runner-Up, 2006 Society for Cinema and Media Studies Katherine Singer Kovacs Book Award (for Rerun Nation: How Repeats Invented American Television [Routledge, 2005])


Areas of Study



Art History

Arts Management and Arts Entrepreneurship

Communication Studies

Creative Computation


Film and Media Arts

Undergraduate Studies

Graduate Studies



Faculty and Staff

Summer Film Production

Student Opportunities



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