TICKETS AVAILABLE THROUGH EVENTBRITE November 18th 2016 Silverstone Room – TW3.7.01.A London School of Economics and Political Science One million migrants crossed the borders of Europe in 2015, in, what came to be known as the “refugee crisis”. This Symposium focuses on the mediation of this “crisis” at a trans-European and local level, in order to address the questions:  * How is “the refugee crisis” communicated in

In order to ensure timely notification and subsequent travel planning, please note the deadline: Abstracts for original paper presentations and panels may be submitted until November 22, 2016. The 10th Screenwriting Research Network (SRN) International Conference will be hosted by the University of Otago’s Department of Media, Film and Communication, in partnership with the New Zealand Writers Guild.

Imag(in)ing the Apocalypse University of Western Brittany, 8-10 March

Institute of Contemporary Arts, Cinema 2 The Mall, London SW1Y 5AH Friday 18 November 2016, 2:30-4:00pm Free tickets can be booked at https://www.eventbrite.co.uk/e/war-in-the-streets-weapons-of-terror-in-the-news-cinema-and-media-art-tickets-26922937230 (seating is limited, so advance booking is advised) An artist, two academics and two journalists selected a series of video fragments that engage with armed violence from recent news media,

Journeys Across Media (JAM) 2017 Department of Film, Theatre and Television University of Reading Worldhood and World-Making Call for papers The JAM 2017 postgraduate conference will take place on Tuesday 11th April at the University of Reading with the theme of worldhood and world-making in film, theatre and television.

Over the last 15 years, Slayage: The Journal of Whedon Studies and other publications have featured a range of writing and scholarship about queer issues, identity and representations related to the Whedonverses but there has not yet been a publication dedicated solely to queer Whedon studies.

A ‘Billy Fluff’ is a moment in Doctor Who from 1963 to 1966 when William Hartnell, the lead actor playing the Doctor, ‘fluffs’ or blows one of his lines. Some are legendary, including ‘anti-radiation gloves’ and ‘cinders floating about in Spain’. But a collection of them on YouTube is only six minutes long.

British history is full of strange and disturbing noises. They rebound and echo, providing a constant reminder to future generations of the violent noises of the past- signalling colonial atrocities, and the stifled disenfranchised voices of class and gender inequalities.

During a recent trip to New York City my TV nerd colleague and I attended two show tapings. If you never have done this, I can highly recommend it – the TV lover’s equivalent of looking inside someone’s bathroom cabinet to see what makes them tick. Not that I’ve ever done that last thing – seriously- honestly. Well, maybe.

Unbreakable Kimmy Schmidt (2015-) is a Netflix comedy produced by Tina Fey and Robert Carlock, and follows the life of 29-year old Kimmy Schmidt (Ellie Kemper) in New York City after her rescue from an underground cult.

Television often has subtitles in my household and not just when we are watching Euro-dramas on BBC4. I hadn’t given much thought to this until I read an excellent article on the topic by Maggie Brown in the Royal Television Society’s magazine (Television, May 2016), entitled ‘Sounding off about the unheard’. I thoroughly recommend it, particularly to anyone who teaches film/video making.