My last contribution to CST focused on the CBS True Crime programme, Murder by The Sea ( CBS , 2018- ). This was partly a result of my trawling through the variety of channels hosted by Freeview here in the UK. My intention, here, is partly to draw attention to Freeview, but also the many channels hosted by Freeview, and, to highlight channels that don’t always get scrutinised or discussed in terms of the changing landscape of

I struggle increasingly to explain to my students the basic difference between a television series and a television serial – which is a worry, because it’s a concept that underpins much of my historical teaching on narrative and genre.

Crime is one of the most prevalent and most-viewed genres on our TV screens and the best-circulating type of fiction content in Europe. Studying the attitudes of television viewers to crime shows, therefore, promises an insight into European tastes and preferences when it comes to the genre of crime, as well as finding out about attitudes towards media cultures from other countries.

‘Why publish a screenplay, when these days the finished film or TV series is so readily available? If one only thinks of them as working documents then perhaps there is little point, beyond the academic. But reading screenplays has always been as interesting to me as reading plays; an activity in its own right.’

And here we are again! And I’m still waiting for the bloody phone to ring to let me know which of the two gigs I’m up for I’ve got – if either of them comes through for me, of course. So, at the time of writing, well, beginning to write this, next week (wk beg 11 ^th Oct, 2021) is the (in some bits of Scotland) Scottish half term break.

A new collection on superheroes is proposed for Peter Lang. As media texts show us superheroes from around the world(s), demonstrating extraordinary abilities and living a life shaped by a moral code, how we define their iconic features and cultural impact has been the focus of much scholarly debate.

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.

I’m revisiting a column from 2020 about the issues listed above, in order to keep up with recent developments. But first, paradoxically, some history. Human rights and sports have long been intertwined in complex ways, along with their coverage by the media. The Spanish Republican government declined to participate in Hitler’s 1936 Olympics because of his anti-semitism. Martin Luther King supported a black boycott of Mexico 1968.

You know this, this blogging lark for these lovely people, all began for me last year when I saw a call for contributions to the CSTOnline website which, I think was called, What Are We Watching? This then became a semi-regular portal into the life of me and my family as well as some not bad jokes, a few corny lines and occasional lapses into me talking about female actors and cheese.

Italian cinema and media: Past and present, continuity and change, expectations for the future Third Edition of the Journal of Italian Cinema & Media Studies International Conference In person ONLY The American University of Rome 16-18 June 2022 ** ** The year 2022 marks the 10 ^th anniversary of the publication of the first issue of the Journal of Italian Cinema &

New Creative Praxis in Film and Television planned for May 6-7, 2022 marks Istanbul Bilgi University’s fourth annual event dedicated to women and media.