By dint of their genre, medical series often deal with matters of morality and ethics.

Edited by Dr Noel Brown (Liverpool Hope University) Deadline for proposals: 30 April 2023 I am seeking chapter proposals for possible inclusion in a forthcoming volume exploring radical children’s film and television. This edited collection is intended as an inaugural volume in the new ‘Children’s Film and Television’ book series, published by Edinburgh University Press.

Editors: Professor Anna Backman Rogers, University of Gothenburg, Sweden, and Dr Houman Sadri, University of South-Eastern Norway Since their publication in 1865 and 1871 respectively, Lewis Carroll’s Alice novels have inspired a wealth of academic and artistic interpretations and re-interpretations.

The 21 ^st century has seen an exponential rise of what can be loosely defined as spiritual media and culture – virtual worlds are replete with reports of mystical experiences, and astrology apps, tarot readings on TikTok, or wicca influencers on YouTube can attract millions of subscribers, followers, and views.

The Trump administration prompted a space for dissent, critique and counter positioning within the media. Inevitably its extreme agenda had an impact on television. Trump’s rhetoric was so problematic that there would inevitably be responses to his views and policies within a range of television programming. The divisive language represented the then President’s emphasis upon borders, exclusion and enemies, both outside and within the USA.

The very first episode of Monty Python’s Flying Circus (BBC, 1969-1974) asked ‘Whither Canada?’, which is an interesting question for a former coloniser to ask of her former colony (and current member of the Commonwealth).  Indeed, in 2012 BBC News asked ‘What Does It Mean to be Canadian?’ because Canada’s multiculturalism seemed to the journalist to preclude or disrupt notions of a coherent national identity.

Televisuality*,* as theorised by John T. Caldwell in 1995, allows for a holistic view on the unique properties of television as industrial product, technology, aesthetic form, and object of cultural discourse and audience engagement.

Fig. 1: Logo of ITVX In my first CST blog, over 10 years ago now, I confessed that I was a late adopter of television and its technologies.

SOUND ON SCREEN II **HYBRID CONFERENCE, OXFORD BROOKES UNIVERSITY, ** 5th-6th JULY 2023 CALL FOR PAPERS DEADLINE FOR SUBMISSIONS: FRIDAY 24th MARCH 2023 (23:59) Please submit an abstract of no more than 300 words, an indication of whether you would prefer to appear in person or online, and a brief biography of no more than 150 words to soundonscreen@outlook.com

Monday 26th June – Friday 30th June 2023: The Disney, Culture and Society’s First Annual Conference celebrating 1 year of DisNet! Monday 26th June – Friday 30th June 2023 An international, multi-billion dollar media conglomerate, the Walt Disney Company has been in our lives since 1923.

This collection initially examines cinematic, televisual, literary, visual and poetic representations of body parts who are vitalized, autonomized, individuated and animated. They become independent entities with a mind of their own.