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.)

“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