I blogged last year for CSTonline about how shared conceptions of childhood facilitated links between television institutions and audiences across Europe, in case of the children’s documentary series If You Were Me (BBC 1971-75). This blog follows up with some examples of how networks of borrowing and collaboration around Europe underpinned children’s animation programmes from the 1960s to the 1980s.

Centre for Media and Celebrity Studies (CMCS) 5th International Conference CUNY School of Journalism New York City, USA August 31-September 1, 2017 Conference Keynote Speaker: Andrew Mendelson Associate Dean & Professor, CUNY Graduate School of Journalism Conference Key Media Speaker: Tim Harper Journalist &

Canon: A collection or list of sacred books accepted as genuine: ‘the biblical canon’; The works of a particular author or artist that are recognized as genuine: ‘the Shakespeare canon’ (Oxford Dictionaries. Online) Apologies, but I’ve marked an awful lot of student essays recently (and I do mean awful). This stylish trend for opening one’s work with an easily Googled dictionary definition is infectious. In the worst possible sense. See?

Although Netflix’s approach to genre is different to those predominant in screen studies, the streaming site provides useful contextual materials for teaching on the subject. At several points last semester Netflix proved relevant to discussions of genre as part of an introductory Film Studies module, as well as an Honours ‘Film Genres’ module.

There’s a general rule of thumb about the BBC Archives recognised by fans of old television – that we can confidently expect programmes from after late 1977 to survive. Thanks to the good work of Sue Malden in establishing BBC Archive guidelines, it was only at this time – rather late in the day in terms of recording technology – that a policy of systematically preserving BBC TV programming came into being.

This one-day conference seeks to explore representations of the body as strange, shameful, wrong, impaired, wounded, scarred, disabled, lacking, different or ‘other’ in contemporary media.  The advent of digital media has underlined the importance of visual culture and our curiosity in representations of the body to form opinions about ourselves and others.

2017 UK-China Media and Cultural Studies Association Annual Conference The television industry in China has experienced a process of marketisation, diversification, de-ideologisation, and entertainmentisation ever since media reforms of the late 1970s.

Big changes are taking place at Sky, even before the much anticipated buyout of non-Murdoch shareholders by Fox. This buyout is currently awaiting approval from Ofcom and the relevant minister. At least that isn’t John Whittingdale any more, but Karen Bradley is scarcely one to stand up to the all-powerful Murdoch machine.

A while ago, Martin Barker invited scholars to discuss the potential for the re-incorporation of Marxist ideas into audience studies. For a short time, a group of us discussed via email how Marxism might be re-introduced to the study of audiences. But very quickly, the group fell silent, largely, I assume as a result of our workloads that kept us from fully engaging in the discussion.

I’m back living in the US, courtesy of five months researching with the Latin American studies folks at Tulane U in New Orleans. After the banal surveillance and corporate vocabulary of English higher education, it’s an incredible tonic to be in a genuinely intellectual and largely progressive environment.

Previous blog posts by my Adapt colleague, Professor James Bennett, on our social media research project have focused on ‘Social Media in the Television Workplace’ and social media’s impact on the production of live TV. This post shifts our focus from The Voice, as a ‘shiny floor show’ with social production by a discrete digital unit, to draw on our subsequent ethnographic observations of Channel 4’s Sunday Brunch gallery