How might we illustrate, explore, and begin to define the ‘state of the nation’ film and television text? This edited collection, in collaboration with Intellect, invites consideration of these questions.
After Invincible ’s fifteen-year run as a comics series (Image Comics/Skybound, 2003-18), creator Robert Kirkman and TV writer Simon Racioppa pitched an adaptation to Amazon Prime Video. Their ongoing animated superhero drama series, which has run for three seasons so far (2021, 2023-25), is an undeniable success. Rotten Tomatoes rates the seasons at or near 100% approval.
The European audiovisual landscape is complex, with a huge variety of content providers and a traditionally strong public service.
“It’s like putting two insects together in a jar and seeing what happens…” (Hill, 2014: 3). When we are asked to define reality television this is often the analogy that comes to mind;
Edward G Robinson’s gangster Johnny Rocco in Key Largo (John Huston, 1948) seems uncertain when asked by Humphrey Bogart and Lionel Barrymore’s sequestered characters what he wants. But after some prompting, he comes up with ‘That’s it. I want more.’ Mindless acquisitiveness matches his mendacity and violence. And that’s the story with the discreditable alliance between pro sports and the screen.
Richard Wallis and Christa van Raalte argue for greater honesty and pragmatism in addressing the talent pipeline. The prominence of the creative industries in the UK government’s industrial strategy as one of eight growth sectors to be prioritised will be welcomed by most of us involved in screen education. It is as yet unclear, however, how the proclaimed undertaking to develop an appropriately skilled workforce will manifest itself.
In this second podcast, David and Elke are looking at Governance in Crisis – as governance that is troubled but also governance in a period of crisis.
Disclaimer: This blog post is derived from the research presented at the 9th International Visual Methods Conference, at Istanbul, Turkey. Fig.
I first started writing this blog some weeks ago after I was lucky enough to be invited along to a review performance of the Broadway stage play, Good Night, and Good Luck . Thanks to my friendship with David Bianculli, who always gets the best tickets, I found myself in the audience of a truly astonishing play.
Should a series be watched in production, broadcast, or some other order? Most viewers will never consider this question, only turning their minds to the order in which episodes are aired or queued up on a DVD or streaming service if parts of an ongoing story are shown out of sequence.
The Star Wars franchise is perhaps best known for its rather Manichean outlook on good and evil as expressed through the ‘Dark (evil) Side’ and ‘Light (good) Side’ of the Force (similar to 气, qi, or breath/spirit in Daoism) expressed through the Jedi, a type of warrior-monk.
