Thirty years ago today [1], I made my first visit to an amazing place. A place that – like one of my favourite fictional concepts brought to me via the modern miracle of television – is bigger on the inside than the outside.

In the last two decades, digital media infrastructures have spread worldwide, including the global South. Despite inequalities of access, low-cost mobile devices and cheaper broadband have connected large subaltern populations to media infrastructures. The effects are increasingly planetary, initiating a series of debates in media scholarship and cultural theory.

This edited volume on Sylvester Stallone will be a contribution to a new series of ‘Screen  Storytelling’ texts published by Bloomsbury Academic. The SCREEN STORYTELLING series is designed for students, professors, and enthusiastic consumers of film, television and new media who seek information about contemporary and historically significant screenwriters that is both accessible and critically rigorous.

It is not uncommon for bands from outside the US to find success in ‘breaking’ the US market through becoming famous in New York City (Edwardson 2008 on Canadian musicians who have done so). This can be thought to be a corollary to the so-called ‘American Dream’ coupled with the Protestant Work Ethic (PWE) and the fallacious belief in a meritocracy, in which anyone who works hard enough can attain success in the form of upward mobility (Fisher

As a current master student at the Film University Babelsberg Konrad Wolf, I’ve come to realize that my previous bachelor’s studies in communication offered limited exposure to television studies.

As a first year MA student of media studies at Film University Babelsberg, I recently had the privilege of attending the ECREA Television Section Conference Redefining Televisuality: Programmes, Practices, Methods , October 25th to 27th in Potsdam, Germany. The conference invited researchers to critically engage and revisit the concept of Televisuality developed by John T. Caldwell.

The Institute for Multidisciplinary Research in Art (ICMA) and the Faculty of Visual Arts and Design at George Enescu National University of Arts (UNAGE) are pleased to invite submissions of articles for publication in the Beyond Biopolitics: Visual Digital Culture and the 21st Century Disruptive Events volume.

The Reckoning is the BBC’s examination of the life and criminality of broadcaster Jimmy Savile (played by Steve Coogan), which aired over the last fortnight on BBC1 (available on iPlayer). It is billed as a ‘Factual drama examining the crimes of Jimmy Savile, with testimony from survivors.’ and that is an accurate description, but its existence is puzzling. Who is it for and why was it made?

I sometimes feel like a bit of an imposter. As women working in academia, we probably all feel a little like this. With me, that feeling is also because being an academic is my second career; my first was as a programme maker for the BBC, something I loved doing for twenty years.

Like many people, I binge-watch horror films or movie franchises in the run-up to Halloween. With the release of Saw X this October*,* I decided to revisit the series’ nine predecessors that belong to the wave of ‘torture porn’ films popularised in the 2000s. While many franchises employ serial storytelling, I was struck by how Saw felt more like ‘TV’ than other horror series I’ve watched over the years. Fig.

The trope of aliens visiting Earth has been a science fiction staple since long before the Lumière Brothers first recorded and (re)played a train coming into a station. Aliens coming in peace and trying to hide in plain sight in contemporary (ish) society is slightly newer and can be used to great comedic effect.