As a film, television and digital media scholar, videographic criticism is a format that I was aware of but had not yet put into practice. My interest in this medium led me to Ariel Avissar’s “TV Dictionary” which for me became a form of practical access into this world of videographic criticism. Participants familiar and new to this medium create content through a specific rubric, or algorithmic guidance: a tv show;

Networking Knowledge, the journal of the Media, Communication and Cultural Studies (MeCCSA) Postgraduate Network, invites contributions from postgraduate students and early career researchers for publication in an upcoming issue focused on television, video-on-demand, and binge watching. Academic articles, creative work, interviews, and media reviews from any field of media, communication, and cultural studies are welcome.

The “TV Dictionary” is a collaborative collection of videos premised on a simple prompt: each video attempts to capture the essence of a television series using a single word, by juxtaposing the dictionary definition(s) of that word with a clip or several clips from the series. It is currently comprised of 48 videos by 25 makers, and has been warmly embraced by the academic videographic community, receiving numerous mentions on Sight &

Now, I’m sure that, like me, you have fond memories of The World of Eddie Weary , the massively popular private investigator series of a few decades back. Fig. 1: Down these mean streets.

Editors: ​Jennifer Dawes, Midwestern State University, jennifer.dawes@msutexas.edu Nora M. Isacoff, Columbia University, ni2237@columbia.edu Overview : The proposed book will be an interdisciplinary examination of the AppleTV show Severance , in which employees of a biotech firm consent to having their brains severed so that their work selves and non-work selves do not retain each other’s memories.

We live in capitalism. Its power seems inescapable. So did the divine right of kings. Any human power can be resisted and changed by human beings. Resistance and change often begin in art, and very often in our art, the art of words. – Ursula LeGuin, 2014 Science fiction includes a myriad of thematics from futurism, technology, transhumanism, apocalypse, other-worldliness, interspeciality, alterity and to history.

CfP URL: https://www.tmgonline.nl/announcement/#cfpmhen Contemporary research predominantly conceives of ‘new media’—i.e., media worthy of scholarly attention—as digital media and computer technologies (Peters, 2009; Borah, 2017). Media historical scholarship has responded to this in various ways.

Much of the fictional television content targeting children and young audiences is currently made specifically for them, targeting their particular interests and intended to be watched on their private screens or together with friends rather than in the company of parents or other adults.

As we all know by now, Netflix is in trouble. Initial reactions to last week’s news that Netflix lost 200.000 subscribers, the first loss of subscribers reported in a decade, included a drop in share values of 35% in one day. The reasons are complex, as, perhaps, best outlined by Josef Adalion in Vulture . After the gains made in pandemic lockdowns, Netflix lost subscribers once people started to go out again.

In 1971, Nigel contributed a script to the final season of BBC2’s science-fantasy anthology series Out of the Unknown: The Chopper. “It’s a long time ago,” chuckles Nigel. “I don’t really remember it very clearly.

As a writer, does Nigel prefer creative writing to the demanding task of adapting the works of others? “Obviously it’s much more interesting writing your own stuff.