Keynote Speakers Christopher Breward, National Galleries of Scotland Pamela Church Gibson, London College of Fashion, University of the Arts Shaun Cole, Winchester School of Art, University of Southhampton Andrew Reilly, University of Hawaii Convenor Vicki Karaminas, Massey University, New Zealand

Archiving Dissent: Post-2011 Arab Imagery, Memory and Vernacular Representations of Conflict ** ** The American University of Beirut, Lebanon September 6 &

Migrant states of exception proliferate and intensify across the world. While processes of globalization have fostered movement and enhanced connectivity on a hitherto unprecedented scale, they have also brought the highly uneven distribution of elected and enforced mobility to the fore.

Pithy title, eh? Oh, well; all will be revealed. As part of my sabbatical I have recently re-watched and made extensive notes on every episode of Inspector Morse (ITV, 1987-2000). If I tell you why, I’ll have to take you down the cells. Suffice to say that this activity relates to a future publication.

This symposium will explore the interaction between word and image within media-based practice research. As creative practice has increasingly found a home within academia, and as digital technologies have made possible new methodologies and forms of output, the hegemony of the written word within arts and humanities scholarship has been challenged from different directions.

EDEN: All Island Interdisciplinary Conference Hosted by the Early Doctoral Exchange Network (EDEN) at NUI Galway ‘2019: Between a Rock and a Robot: Humans, Habitat, and Technology’ National University of Ireland, Galway Dates: 26-27th of April **Plenary Speaker: Diane Negra, MRIA, Professor of Film Studies and Screen Culture **

Ever since Strictly Come Dancing ’s inception in May 2004, settling into the fall season and the ‘build-up’ to the winter holiday period – at least in my own household – has become synonymous with watching Strictly ’s Saturday night entertainment, weekly on BBC1.

This symposium argues that New Queer Horror projects contemporary anxieties within LGBTQ+ subcultures onto its characters and into its narratives, building upon the previously figurative role of queer monstrosity in the moving image.

::: {#js_5 ._5pbx .userContent ._3576 ft=“{"tn":"K"}”} Romanticism again and again! In autumn 1979, Michael Ende’s novel The Neverending Story was published in the Federal Republic of Germany. Even to Ende’s contemporaries, Bastian’s journey to Fantastica and back seemed to be the beginning of a revitalization of romantic longings and ideas within popular culture.

Sorry if I’m bringing this up, but something is bugging me… I don’t really know where to start with this, because the longer I think about it, the more it appears that all of the elements are interconnected and, in the end, hark back to how we as television scholars see ourselves and the role we’re playing in the bigger picture of academia within the social sphere… So, yes, the big questions.

I have long been interested in writing about performance in television and film and indeed when I turned to adaptations one of the things that interested me was how characters became embodied and took shape, on screen. But generally I tried to analyse performance through the text and look at how the actor moved and gestured, how facial expressions changed, how eyes moved.