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.

“The Bat-Man, a mysterious and adventurous figure, fighting for righteousness and apprehending the wrong doer, in his lone battle against the evil forces of society… his identity remains unknown.” – Detective Comics #27 (1939)

Keynote: Amanda Ann Klein, East Carolina University In holding this year’s conference in downtown Portland, one of the most environmentally conscious cities in the United States, we invite attendees to consider the themes of “repurpose” and “recycle,” broadly conceived. What function—socially, politically, and economically—do sequels, remakes, and reboots serve in media culture?

Venue: Loughborough London Campus [ ]{ccp-props=“{"134233117":true,"134233118":true,"335551550":6,"335551620":6}”} 3 Lesney Avenue The Broadcast Centre Here East Queen Elizabeth Olympic Park London E15 2GZ [ ]{ccp-props=“{"134233117":true,"134233118":true,"335551550":6,"335551620":6,"335559685":720,"335559731":696}”} In an age of global communication, the making of histories and memories is closely

Global Utopian Film and TV in the Age of Dystopia A special issue of Science Fiction Film and Television Edited by Leimar Garcia-Siino Sean Guynes-Vishniac Global Utopian Film and TV in the Age of Dystopia , a special issue of Science Fiction Film and Television ( SFFTV ), seeks essays that confront a pressing problem at the intersection of media and utopian studies.

Not unlike other media, television is undergoing major changes. The Internet, as well as the possibilities of digitisation and storage, has contributed to the transnational circulation of content and, most importantly, the development of over-the-top (OTT) media services.

The most exciting thing on Australian television at the moment is happening around 5.50pm each night, and then all the bloody time on catch up. Bluey , a kids cartoon based on a family of blue heeler dogs living somewhere in suburban Queensland, is 7 minutes of charm. It’s also very re-watchable – an invaluable quality for a type of television that attracts fanatical audiences who love their ‘repeat’ button.

Whether it’s a plot vehicle, as in Quantum Leap, or ticking away in the background, as on 24, or simply something that defines the length of the program and how long we’re watching, time is always of the essence on television.  (It even came up in a previous post here on 11.22.63.)