We have emphasized an awful lot these days – and quite rightfully so – about the need for subjects to be communicated by ‘different voices’. Absolutely!  Couldn’t agree more. But I didn’t expect to have the notion brought home to me quite as effectively as when I attended – of all things – Slapstick!, a festival celebrating silent comedy.

Here in Mexico City, the lockdowns that readers are experiencing are not new. Chilang@s had one just a decade ago because of swine flu. But other things are different. Primarily, the current Mexican government is conventionally characterized by the Anglo bourgeois media as a populist left-wing administration. That’s actually nonsense.

The online edition of the Cambridge Dictionary [i] states that ‘cultural appropriation’ is ‘the act of taking or using things from a culture that is not your own, especially without showing that you understand or respect this culture’. And – quite possibly – there’s a lot more of that going on in the way of watching television than there ever used to be. As I think I mentioned before, I’m rather fond of jazz (even if nobody’s ever really

The intersection between nurses and popular media is longstanding. Florence Nightingale died in 1910 and British Pathe’s coverage of her funeral is a very early instance of nurses appearing on film. Nightingale was the subject of a silent film biography by 1915 and thereafter film, television, theatre and live performance and other media have showcased the nurse and the nursing profession. The familiarity of the nurse is inherently visual;

2019 was a watershed moment for queer horror visibility, particularly in cinema: from Shudder’s announcement of their upcoming queer horror documentary to Rue Morgue ’s first-ever ‘Queer Fear’ special issue, and from the world’s largest study about horror-loving queers to the rapid proliferation of queer horror podcasts.

Guest Editors: Associate Professor Gareth Schott (University of Waikato), Dr Margaret Gibson (Griffith University), and Dr Clarissa Carden (Griffith University). Emotionally charged depictions of death play an important role in much contemporary media directed toward teen and young adult audiences.

Two broadly anthropocene concerns—the ‘human’ condition along with the condition of this human planet, Earth—bear on all discursive practices central to contemporary areas of research in humanities, social sciences, and sciences. Both these concerns reconfigure ways in which humans have come to make sense of themselves and of the world which they share with other forms of life.

Edited by Dr Michael Samuel and Dr Louisa Mitchell To the surprise of analyst expectations, at the end of 2019 Netflix recorded a record-high growth in subscribers and revenue outside of the United States, specifically in its Asia-Pacific region.

In 2016, Netflix committed to “doubling down on kids and families” [1] through increased child and family-oriented Originals [2]. Netflix’s most successful and well-known Original series, Stranger Things , (2016- ) significantly contributed to the creation of a new middle ground of shared family viewing in the subscription-video-on-demand (SVOD) ecology, in which Netflix resists broadcast TV approaches to family

Like many of you, I am now stuck at home, as my University has become a shimmering new constituent college of the virtual campus.

“█████ turns up in series ███ doesn’t he?” “Oh… for hump’s sake!” [ii] “Sorry… I thought you know.” That was a brief domestic conversation with my wife last night. We’re well-suited and very lucky and very █████ed in that respect.