Monsters stalk through modern media. They are heard howling from radio, film and television. They are even spinning their tales on every corner of the World Wide Web. Whether adapting illusory techniques from stage, like Pepper’s Ghost, or creating new and experimental forms of monstrosity that range from classic film monsters to urban legends like the Slender Man, our media worlds are crawling with monsters.

The objective of “Theorizing Zombiism 2: Undead again” is to promote interdisciplinary scholarship on one of the most prevalent, yet critically understudied cultural metaphors in contemporary popular culture, namely zombies and zombiism. EXTENDED Deadline for abstract submission: March 10, 2021 Acceptance confirmation: April 10, 2021.

Special Forum of Communication, Culture & Critique (Vol. 15, No. 3, September 2022) Contribution Deadline: June 1, 2021 Contribution Length: 1000-2000 words inclusive of all notes and references Editors: Jamie J. ZHAO (Xi’an Jiaotong-Liverpool University) and Eve NG (Ohio U) In the past decade, TV representations of female masculinity have proliferated and diversified worldwide.

The “big four” American entertainment awards—the Emmy for television, the Grammy for music, the Oscar for film, and the Tony for theater, often referred to by the “EGOT” acronym—have long served as a barometer of mainstream taste cultures in their respective fields. While literature on media awards is not completely absent, its scope has been narrow.

Alongside the important position of Nordic Noir in European crime fiction, it comes as no surprise that Netflix has utilized this subgenre[1] both on the Nordic markets and as part of the streaming service’s transnational ambitions.

Last week I gave my first ever lecture by live online video. Not only was this my debut in a medium that was new to me, but I was also asked to talk about a TV Studies topic I have never taught before, namely the sketch comedy genre.

It’s safe to say that I have been a fan of period dramas since I watched the BBC adaptation of Pride and Prejudice many years ago.  As a staple of this genre at large, Jane Austen is not the only party guilty of inherent Whiteness as a pillar of achievement.

SERIES. International Journal of TV Serial Narratives“ (https://series.unibo.it) is an open access and peer-reviewed journal, with ISSN and, indexed in major international databases. It publishes 2 issues per year and is mainly devoted to television seriality. It is a joint project by Universitat Politècnica de València (Escola Politècnica Superior de Gandia/DCADHA) and Università di Bologna.

**** Please note this is an up-dated posting for a volume originally entitled, The Platinum Age of American Television **** Title: When American Television Became American Literature Publisher: Brill Publishers (European Perspectives on the United States series) Editor: Ben Alexander Contact: Benalexander@fas.harvard.edu Brill is interested in publishing a volume that broadly addresses American television series produced between

*There are only two possible conclusions from listening to [Trump’s] folly: either the President actually believes what he is saying, in which case he is crazy, or he does not, in which case he is engaged in the most cynical attack on American democracy ever to come from the White House. * — Author, editor, and journalist, Susan B. Glasser, 3 December 2020 ( The New Yorker )

A shorter version of this article was published in The Conversation on 13/01/2021 TV viewing has become more important during the pandemic, but a sense of shame still lingers around it. Even TV scholars still use the term ‘guilty pleasures’ to describe their enjoyment of a particular reality TV format or even of series which attract some of the biggest viewing audiences like Strictly Come Dancing ( Dancing with the Stars