Conference Dates: 29-30 June 2020 | Conference Location: Canterbury, UK. University of Kent Abstracts: 10th Feb 2020 (Round One) Abstract Submission Form Keynote: Professor, Dr. Richard Koeck. Chair, Architecture and the Visual Arts, University of Liverpool;
Deadline extended to 15 January 2020 Worldmaking around the world: rethinking the intersections of popular media, translation and LGBTQ+ activism across cultures Bill Douglas Cinema Museum, University of Exeter. 17-18 April 2020. Keynote Speakers: Jack Halberstam, Columbia University &
Editor: Dr Ruxandra Trandafoiu (Edge Hill University) This edited collection aims to capture the way human mobility is represented on screen (any type of screen: cinema, television, museum or public displays, tourist information, urban advertising, mobile devices etc). The project is based on the premise that human mobility is a major defining aspect of contemporary life, that mobility has become the paradigm of being and creating in the
Digital Curation has become ubiquitous on a scale ranging from large digital preservation programmes to individual citizen curation projects that often involve collaborations between professionals and enthusiasts. Extending Joseph Beuys’ controversial assertion that everyone is an artist, now everyone is a (digital) curator. Curation in the context of Contemporary Art is closely aligned with Digital Curation skills;
Edited by: Brett A.B. Robinson (Brock University) and Dr. Christine Daigle (Brock University) Since 9/11 there has been a significant increase in narratives dealing with serial killers in popular television.
William Proctor: Lindelof has been quite insistent that he won’t return for a second season, but he is quite happy for the show to continue in his absence.
William Proctor: One of the first things that came to mind when watching HBO’s Watchmen is whether the series would be as equally impenetrable to audiences that have no experience of the comic.
William Proctor: For many comic fans, Alan Moore and Dave Gibbons’ Watchmen is a sacred, seminal text, one that perhaps should never be adapted nor extended with sequels, prequels etc., or else the sanctity of the original would be defaced in some way—at least in the minds of purists (of which I am one, admittedly). […]
Until no later than September 2020, all EU countries will have to apply at the level of local legislation, the principles and norms of the new version of the European Audiovisual Media Services Directive (AVMSD). Originally rolled out in 1989, and then named as “the television without frontiers directive”, the AVMSD is the key legal document defining the various pillars upon which the cross-border provision of audiovisual media services is built
As I sit here writing this, today is Friday 13 th December, 2019 – an ominous and somewhat fitting date given the outcome of yesterday’s general election in the UK (depending on your political stance, of course). Although a week will have passed by the time this is posted, I feel that there is an increased onus on me to try and lift your spirits, perhaps by distracting you with some more light-hearted observations about Christmas TV.
Honey, I’m Homo: The L Word Along with Jill Soloway’s popular dramedy, Transparent, The L Word has succeeded in redefining or widening our understanding of concepts such as family and sexuality within the conventions of American popular culture.
