In the Summer of 1994, it became legal for shops to open on Sundays. Until then, the British Sunday could be a dreary affair because shops were closed, as were all cinemas, pubs and other places of entertainment. The comedian Tony Hancock made tragi-comedy out of this in his “Sunday afternoon at home” radio episode of 1958, for example.
The British Broadcasting Corporation was established, and continues to operate, partly to fashion a sense of British national identity. (1) It does so by trumpeting Britain’s good points but also by worrying about the nation, thereby adding a reflexive anxiety and creative imagination to the problems it confronts.
4th INTH Network Conference Call for papers The International Network for Theory of History (INTH) is pleased to announce that its fourth network conference will take place in Puebla, Mexico on 6, 7 and 8 May, 2020 at Institute for Social Sciences and Humanities ‘Alfonso Vélez Pliego’, Autonomous University of Puebla (BUAP). Histories are not […]
An international conference organized by the Speculative Texts and Media Research Group, American Studies Center, University of Warsaw December 5-7, 2019 American Studies Center, University of Warsaw, Poland For most of its history, or at least since the late 19th century, the core conversations of science fiction (SF) have not been kind to the senses.
Call for Chapters: American Television in the Trump Era Editor: Karen McNally Deadline for Submission of Abstracts: 30 June 2019 Donald Trump’s emergence in the field of American politics has had an undeniable and wide-ranging impact on contemporary American television.
Fast, frenetic and a breath of fresh air from the drawn out soul searching in other zombie apocalyptic shows, Black Summer (Netflix, 2019) is a stripped bare, full throttle zombie series that sprints through eight action packed episodes. Created by Karl Schaefer and John Hyams, Black Summer comes from The Asylum, the same studio which made Z Nation (SyFy, 2014 – 2018) but the connection between the two shows is minor.
For the general conference cfp, see: https://www.luc.edu/mmla/convention/callforpapers/ For this particular special section call, see https://www.luc.edu/mmla/convention/permanentsectioncallforpapers/ at “Marxist Literary Group” This permanent section of the Midwestern Modern Languages Association organized by the Marxist Literary Group seeks to examine the economics, politics, and aesthetics of remakes, reboots, and
Riverdale : a comic book turned hit TV show, a comic strip turned murder mystery, a town that is both nowhere and everywhere.
KEYNOTE SPEAKERS Sherryl Vint (UC Riverside, USA) Sara Wasson (Lancaster, UK) ‘Fantastika’ is an umbrella term that embraces the genres of Fantasy, Science Fiction and Horror but can also include Alternate History, Gothic, Steampunk or any other radically imaginative narrative space. The sixth annual Fantastika conference will aim to define, challenge and debate conceptualisations of embodiment.
In 2006, when I started out in television studies, the discipline was reckoning with the impact of HBO’s entry into the marketplace for television drama. Academics tended to avoid words like ‘revolution’ but journalists flung them about with abandon, and contentious debates about ideas like ‘Quality’ (McCabe and Akass, 2007) and ‘Complexity’ (Mittell, 2006) were driving much of the conversation in TV studies.
During this year’s season of The Last Leg the usually neat and tidy Adam Hills declared he would “grow his beard til Brexit”. Beginning as a stunt, it became a weekly metaphor for the promise, and increasing disarray, the UK seemed destined for. Ein Fehler ist aufgetreten. JavaScript kann nicht ausgeführt werden. A developing beard makes for strangely captivating television.