Jointly organized by the Faculty of Human Sciences (Universidade Católica Portuguesa), the Center for Media@Risk at the Annenberg School for Communication (University of Pennsylvania), the School of Journalism and Communication (Chinese University of Hong Kong), the Department of Media and Communications (London School of Economics and Political Science) and the Faculty of Social Sciences (University of Helsinki), the Second Lisbon Winter School

A volume of scholarly essays to be collected under the title: Bitch or Badass: Anti-heroines of Contemporary Literary Media, Television, and Cinema (working title) Edited by Melanie A. Haas (Texas Woman’s University ) and N. A. Pierce (Old Dominion University)

Special issue #18 of VIEW journal: a history of television and health. We are presently accepting propositions for a special issue of VIEW on the history of television and health. The special issue follows the thematic lines of the Tele(visualising) Health conference on the history of TV, public health, its enthusiasts and its publics.

The broadcast schedule has been much on my mind of late – and not just because, at the time of writing, it has recently experienced two disruptions: one comparatively minor, and the other guaranteed to send shockwaves down the spines of all ITV daytime viewers.

How to write about a television programme that you love and that has even moved you to tears? Many years of teaching Film and TV have not really prepared me for this. In the eighties, when I first started teaching, we were largely in the grip of the Screen journal pleasure is suspicious era. (Indeed at PCL it was pretty much required as a critical approach on the MA Film &

Call for Papers: The Youthification of Television and Screen Culture Biannual Conference of the Television Studies Section of ECREA (European Communication Research and Education Association)  24-25 October 2019, University of Groningen, NL   Confirmed keynote speakers: Prof. Jeanette Steemers (King’s College London) Dr. Vilde Schanke Sundet (Inland Norway University, Lillehammer)

The concept of national cinema rests on two underlying assumptions: first, that “films produced in a national context will display some distillation of the historical, social and political culture of that country”; second, that “cinema (as one aspect of popular culture) plays a role in the construction of national identity, thus participating in the building of what Benedict Anderson termed “an imagined community” —or perhaps more appropriately

Sherry Ginn and Michael G. Cornelius, editors of the forthcoming Serializing the Apocalypse: Essays on the Never-Ending End of the World , announce their intent to publish a new collection of essays about Star Trek: Deep Space Nine . Although this series ended twenty years ago this year, a stand-alone examination of the series has not been published to date.

First of all, let me start with a personal note. I am a compulsive organizer. My desk space in reality may not demonstrate this, but my actual (!) desktop, the real one I use disconnected from any material spaces is VERY neat. Just a handful of folders on either side of an artistic drawing of a lady with a TV for a head.

In the Summer of 1994, it became legal for shops to open on Sundays. Until then, the British Sunday could be a dreary affair because shops were closed, as were all cinemas, pubs and other places of entertainment. The comedian Tony Hancock made tragi-comedy out of this in his “Sunday afternoon at home” radio episode of 1958, for example.

The British Broadcasting Corporation was established, and continues to operate, partly to fashion a sense of British national identity. (1) It does so by trumpeting Britain’s good points but also by worrying about the nation, thereby adding a reflexive anxiety and creative imagination to the problems it confronts.