With the Christmas period well and truly upon us, it seems only fitting to consider the time-honoured, festive tradition of bingeing. For better or for worse, Christmas has become synonymous with the act of bingeing – not just because of the copious amounts of mince pies and mulled wine that we might consume, but also because of the increased amount of television that we typically view during the festive period.

This second blog offers some thoughts on how aesthetic complexity in drama has been developed for television followed by the possibility of an evaluative method for a medium (unlike film) which has been difficult to judge. Due to its long association with cultural studies, television has been analysed primarily as a form of communication rather than as a textual system which is capable of criticism.

We invite abstracts for an edited collection investigating the theoretical, empirical and instructional aspects of what can be envisioned as visual pedagogies, offering classic, creative, and contemporary re-workings of these paradigms. The book will be divided into three complementary sections with an editor in charge of each.

A transdisciplinary early-career research Symposium hosted by the LSE Department of Media and Communications Extended abstracts of 750-1,000 words Submission deadline: 15 ^th January 2019 We are currently inviting extended abstracts for papers to be considered for publication at the LSE Department of Media and Communication’s upcoming research Symposium, to be held in London in

Folk Horror in the 21st Century, is a two-day conference to be hosted by Falmouth University (UK) on Thursday September 5 and Friday September 6, 2019.

XXVII IAMHIST Conference POWER AND THE MEDIA (Northumbria University, Newcastle upon Tyne, 16-19 July 2019) Confirmed keynote speakers include: James Curran (Goldsmiths, University of London) Jennifer Smyth (University of Warwick) Papers and panels are invited for the 2019 conference of the International Association for Media and History.

Department of Communication and Media | March 14th 2019 | Organisers: Annette Hill and Magnus Johansson Mixed modes of storytelling abound in the contemporary media landscape. There are mixed genres, such as political comedy or docudrama, that mine the generic elements of information and entertainment to create storytelling based on real events.

NECSUS Autumn 2019_#Gesture Guest editor: Miriam de Rosa (Coventry University) A visible action working as utterance, according to Giorgio Agamben gesture is ‘the exhibition of mediality’. It unveils a process and crystallises a meaning into a temporary form, making visible and yet relying upon a sense of deep tactility and materiality, especially when it is performed by the hands.

With Haunting of Hill House plugging the hole left by Stranger Things this Halloween[1], I started thinking about Netflix’s other original horror dramas and whether or not there is method to a Netflix TV horror. Is there anything common to a Netflix horror series or are they all totally and unequivocally different?

‘Alright, it’s me Joyce Byers fae Stranger Things. Everybody calls me big Jo-B.’ Imagine a different world, a world were stuff was Scottish… Harry Potter , Game of Thrones , Stranger Things , Gwyneth Paltrow, The Handmaid’s Tale —all Scottish. The good news is, you don’t have to imagine this because Ashley Storrie has already done it for you, in a handy set of refreshingly foul-mouthed short videos.

In December 2016, in an international conference entitled “50 years of Greek Television” that took place in Thessaloniki, organized by the Laboratory of Cultural and Visual Studies of the Department of Journalism and Mass Media Communication, both well-established and emerging scholars came together to discuss the past, present, and future of (the academic study of) Greek television.