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.)

“After the agony in stony places/The shouting and the crying/ Prison and Palace reverberation/of Thunder of spring over distant mountains.“ T.S. Eliot, The Wasteland Midway in our journey through Matt Weiner’s The Romanoffs , at the end of Part 1, we found ourselves in Olivia Rogers’ special Romanov Hell.

In his preface to the revised edition of Hitchcock’s Film’s Revisited (2002), the late Robin Wood’s commendably honest mini-autobiography (which only briefly touches upon Hitchcock and his work, focusing more on the context in which Wood wrote about it) concludes with a consideration of the question repeatedly posed by the protagonist of Christopher Nolan’s Memento (2000): “Where are you now?” After relating his then-current

The term “biopic” is rarely used about television programmes, but biographical drama occurs across many kinds of TV output, such as dramatized documentary, one-off TV movies and historical drama. Biopics are fictionalized narratives of (most of) the life of an individual, told primarily in chronological order, about a significant person who made a contribution to present culture or who lived recently enough to be familiar to the audience.

The past 20 years have seen the rise of the once-humble television series to new heights of popular success and critical estimation. Given this rise, this book asks if and how contemporary scripted television and web series can be read as a form of literature.

One-Day Symposium: Tuesday July 16th 2019 The Centre for Media Research, Bath Spa University Newton Park, Newton St Loe, Bath, BA2 9BN Confirmed Keynote Speakers: Professor Simon O’Sullivan , Professor of art, theory and practice, Goldsmiths College, London Dr Tony David-Sampson , Reader in Digital Media Culture and Communication, University of East London The Centre

The bestselling novelist of all time, Agatha Christie (1890-1976) is increasingly being recognised in scholarship and popular culture as one of the most influential writers of the twentieth century. In response to what Martin Edwards calls the ‘lazy critical cliché’ of branding Golden Age Detective Fiction as ‘cosy’, this conference will investigate the significance of the Queen of Crime and her writings within academia and popular culture.

The Huston School of Film & Digital Media, NUI Galway is pleased to host the 15 ^th Annual Irish Screen Studies Seminar, to be held on 9-10 May 2019.

Guest editors: Sarah Atkinson (Kings College London), Olof Hedling (Lund University), Mette Hjort (Hong Kong Baptist University) and Pietari Kaapa (University of Warwick).   Production studies has emerged as a vibrant field in contemporary media studies.

Running from 4 – 25 February at BFI Southbank, FORGOTTEN BLACK DRAMA ON TV will be a season of ground- breaking black British television dramas.

“Son of Man /You cannot say, or guess, for you know only/A heap of broken images” T.S. Eliot, The Wasteland Matt Weiner’s The Romanoffs offers American television a unique modernist vision of history as a collision of histories, not the more familiar media monolithic account of one linear progression, or even the rarer media version of cyclical history.