Located within a cultural space situated firmly in the political, technological, and historical context of the contemporary moment and predicated on the contention that all texts are dialogic, the author reads physical cultural technologies as constituents of the powerful techniques of self-regulation and self-surveillance of the young female body. "We Cheer" acts as a discursive technology, a noncentralized capillary-like force that works to "conduct the conduct" of subjects. Emanating from these media are digital discourses through which young girls are learning not only how to move their bodies appropriately but also how the have to be to fit the mould and "join the squad." As a powerful and pervasive public pedagogy, "We Cheer" (re)establishes the position of the neoliberal girl norm, that is, a girl whose body is representative of her being (heterosexy) middle class, white, and a young consumer—citizen.

This article argues that the computerization of audiovisual culture has led to a "cinemas of transactions." Asserting that computer-generated image forms now function as a single currency across multiple audiovisual economies, this article posits a new understanding of digital attractions as constituting a cinemas of transactions. Neither a singular, unitary "cinema" nor a singular "transaction," the cinemas of transactions constitutes a complex and multiply interrelated system of textual, technological, aesthetic, and economic developments whereby computer-generated attractions and promotional practices span many media and textual forms. Most importantly, however, the cinemas of transactions does not represent a radical break from past configurations of cinematic and audiovisual promotional history; rather (as the name suggests), it represents the continuation of a relationship initiated at the inception of cinema history.

New Zealand’s first primetime animated program, bro’Town, ran successfully for five seasons between 2004 and 2009. Described by its creators as a "modern-day non-PC satire," bro’Town focuses on five New Zealand teenagers of Samoan and Maori ethnicities growing up in Auckland. While the program was promoted as "The Simpsons of the South Pacific," its audience, critics, and politicians have celebrated it as a twenty-first-century New Zealand creative success story. This article explores the historical, cultural, and economic forces that have shaped bro’Town in the context of the debates on media globalization using the framework of hybridity as "the cultural logic of globalization" as well as the framework of global television formats. The authors suggest that bro’Town represents a complex case of television program adaptation and provides a unique case study to examine the multilayered nature of contemporary hybrid cultural forms moving beyond the simplistic local—global dyad.