How to write about a television programme that you love and that has even moved you to tears? Many years of teaching Film and TV have not really prepared me for this. In the eighties, when I first started teaching, we were largely in the grip of the Screen journal pleasure is suspicious era. (Indeed at PCL it was pretty much required as a critical approach on the MA Film &

Call for Papers: The Youthification of Television and Screen Culture Biannual Conference of the Television Studies Section of ECREA (European Communication Research and Education Association)  24-25 October 2019, University of Groningen, NL   Confirmed keynote speakers: Prof. Jeanette Steemers (King’s College London) Dr. Vilde Schanke Sundet (Inland Norway University, Lillehammer)

The concept of national cinema rests on two underlying assumptions: first, that “films produced in a national context will display some distillation of the historical, social and political culture of that country”; second, that “cinema (as one aspect of popular culture) plays a role in the construction of national identity, thus participating in the building of what Benedict Anderson termed “an imagined community” —or perhaps more appropriately

Sherry Ginn and Michael G. Cornelius, editors of the forthcoming Serializing the Apocalypse: Essays on the Never-Ending End of the World , announce their intent to publish a new collection of essays about Star Trek: Deep Space Nine . Although this series ended twenty years ago this year, a stand-alone examination of the series has not been published to date.

First of all, let me start with a personal note. I am a compulsive organizer. My desk space in reality may not demonstrate this, but my actual (!) desktop, the real one I use disconnected from any material spaces is VERY neat. Just a handful of folders on either side of an artistic drawing of a lady with a TV for a head.

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.