Terminator @40*:* Origins and Legacies An academic conference hosted by The Centre for Film, Television and Screen Studies, Bangor University, Wales  18 & 19 June 2024  The Terminator franchise has left an indelible mark on popular culture.

The Disney, Culture and Society Research Network is pleased to announce its Call for Papers for the Second Annual Disney, Culture & Society Research Network Conference: Disney in a Time of Global Transformation.

The Centre for the History of Television Culture and Production, Royal Holloway, University of London is pleased to announce a TECHNE Collaborative Doctoral Award funded by the Arts and Humanities Research Council. This fully-funded studentship will focus on British television drama and the ‘television film’ in the 1980s and 1990s and will involve a collaboration with BBC History.

Content warning: this blog post contains mentions of drug abuse, mental health conditions, and attempted suicide.    Last Thursday, as I left my house to get the train into my office, I glanced at my phone to see a message from my sister. Whilst this event was in itself not unexpected, the contents of the message was. ‘Bad news,’ it started.

From 25 to 27 October 2023, Film University KONRAD WOLF opened its doors for the conference “Redefining Televisuality: Programmes, Practices, Methods”. On the last day of the conference, Friday, 27 October, various TV formats were the focus of discussion. The panel “TV-Formats” gathered leading experts in media studies. Anne Marit Waade, a researcher at Aarhus University, is known for her work on media tourism and landscapes.

The idea of television for dogs sounds like it should be part of a Monty Python (BBC, 1969-1974) sketch but it is a genuine subscription-cable television station available transnationally. Offering programming such as ‘Stimulation,’ ‘Relaxation’ and ‘Exposure,’ on its homepage (accessed 12/11/23), Dog TV advertises itself as: Fig.

This special issue of Northern Lights focuses on the ‘Female Trajectory’. The goal of this collection is two-fold: presentation and interpretation of narrative plots (in film/fiction/popular culture/new media, etc). How is the female figure presented in various historical periods and how it is reflected from a feminist point of view (post-feminism, eco-feminism, etc.)? Furthermore, having in mind the well-known historical determination of

This conference focuses on all aspects of the relationship between labour and screen media, historically and today, from representations of labour on screen to the varied ways that labour — viewed as work, craft, skill, creativity, or exploitation — underpins screen media and screen industries. Issues related to labour are increasingly recognised as of central importance to film, television and screen studies.

The International Association for Media and History (IAMHIST), University College Cork, and The Irish Film Institute IAMHIST Master Class on Media and History & One day symposium – Hidden Archives: Marginalised and Alternative Collections and Practices Monday 29 ^th January 2024 (master class) Tuesday

The research project ’Reaching Young Audiences: Serial Fiction and Cross-Media Storyworlds for Children and Young Audiences’ (RYA) seeks to provide detailed knowledge about the production and reception of film, TV and online fiction for children, tweens and teens through in-depth analysis of the current strategies for creating engaging fiction for young audiences and extensive qualitative case studies of their media use.

The older I get, and the more societies, cultures and (increasingly-authoritarian) governments I encounter, the more I think about Blakes 7 (BBC, 1978-1981). There is no actual apostrophe in the title, implying, perhaps, the German possessive rather than the English and tying the oppressive, totalitarian dystopia seen in the series back to the Nazis, a common point of reference in the works of Terry Nation.[1] For those unfamiliar with