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.

Location manager Ulla Malmos knows her way around Aarhus.

One of the myths shrouding the realities of US capitalism is that it is a truly private-enterprise system, with Hollywood an exemplar that is entirely sustained by its capacity to tell stories in ways that viewers pay to enjoy. Nothing could be further from the truth, in terms of the nation’s wider economy, and its screen industries in particular. The state is everywhere and nowhere in US capitalism.

CALL FOR PAPERS: Nordicom Review Special Issue (open access) Title: ‘Dark Screens: The Geopolitics of Nordic Television Drama’ Guest Editors: Robert A. Saunders (State University of New York); Pei Sze Chow (Aarhus University); and Anne Marit Waade (Aarhus University) Journal: Nordicom Review Nordic Europe’s dramatic television series – from Borgen to The Bridge to Occupied– currently serve as a model for […]

Calls for Chapter Proposals: Transmedia Storytelling in Asia and Pacific Region.

Call for Papers: Journal of Digital Media and Policy (Formerly International Journal of Digital Television) Special Issue 10.3 (Autumn 2019): ‘Interfacing public communications in the digital economy’ Guest edited by Michael Klontzas (University of Huddersfield) and Maria Sourbati (University of Brighton) Deadline for proposals : 30 November 2018 Public organizations tasked with the delivery of universal

The BBC’s audience-pulling Bodyguard (2018) ended with a twist which changed the status and behaviour of the Muslim woman with whom it had started.

For several years, I have watched the development of film and television education in Europe. I have looked at it from different angles, either as a scholar, a researcher or an employer of graduates from different schools.

First things first: what is comfort TV? Well, the etymology of comfort presents a useful starting point. Comfort is about consolation, support and giving strength. Applied to television, comfort refers to those programmes or viewing routines that help to strengthen the position and resilience of the viewer in daily life.

Central character Rick Grimes (Andrew Lincoln) has left The Walking Dead , and no, he wasn’t killed by a horrific zombie maul, or in a protracted scene of human to human torment. Instead he left via a succession of in-episode accidents, before a last hurrah of heroism that will cement his position as leader-most-worthy, according to ‘his people’ anyway.

Back to the Future: Telling and Taming Anticipatory Media Visions and Technologies Special Issue of “Convergence: The International Journal of Research into New Media Technologies” Guest-editors: Christian Pentzold (University of Bremen, Germany), Anne Kaun (Södertörn University, Sweden), and Christine Lohmeier (University of Bremen, Germany) Digital media, networked services, and aggregate data are beacons