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.

Netflix launched their newest drama Haunting of Hill House on 12th October, just in time for Halloween 2018.

16-17 December 2019, Centre for Life-Writing Research, King’s College London, UK Convenors: Julia Lajta-Novak (Vienna) and Caitríona Ní Dhúill (Durham) **Web: ** https://herstory-reimagined.net How do the lives of historical women become the raw material of novelists and filmmakers?

Edited by Jonathan Cohn and Phil Scepanski Abstracts/Proposals (300 words) due December 10th.

The edited collection, Familial Influences on Superheroes , will examine the role that the family plays on the development of the superhero as portrayed in radio, comics, graphic novels, television series, and feature films.  Many superheroes have experienced the trauma of losing (a) parent(s), which sets them apart from others.

The BBC television programme Eat Well for Less , now entering its sixth round of production, first aired in the United Kingdom in January 2015.

Media, Diplomacy and Soft Power: Exploring the Relations Between Emerging Markets and Western Countries   Bologna, Dipartimento delle Arti, May 20th-21st, 2019   Confirmed keynote speaker: Stanley Rosen (University of Southern California) A second keynote speaker will be soon announced

Individual paper and panel contributions are welcomed for the eighth annual international conference of the European Popular Culture Association (EPCA), to be held at Mary Immaculate College, Limerick), Ireland, July 16th – 18th, 2019. EUPOP 2018 will explore European popular culture in all its various forms.

Whatever happened to consensus? In the wake of World War II, the United States came to occupy what many proponents of American exceptionalism have long asserted to be a unique place in modern world history. Official and quotidian versions of postwar American self-understanding became dominated by narratives of a nation dedicated to such liberal values as “freedom” and “justice,” both at home and abroad.

In Television of the Anthropocene Part I (that I wrote exactly a year ago), I introduced the idea of the Television of the Anthropocene, and I suggested that ‘the re-emergence of sci-fi, fantasy, and post-apocalyptic genres and generic hybrids on television that address questions about human and non-human futures was unsurprising and was in line with the social and cultural status of the television as the dominant medium of storytelling’

Earlier this year I blogged about a research project I collaborate on that documents and studies all of Harold Pinter’s drama. Pinter died ten years ago, and as is often the case, the anniversary has prompted a surge of media interest in him and a series of retrospectives of his work. In London’s West End, for example, the Pinter at the Pinter season has featured a host of star actors in new productions of his theatre plays.