Representation of queer identities in twenty-first century popular television has undergone massive shifts in the last decade. Whilst queer representation has formed part of the bedrock of reality television, queer representation in scripted television has received less scholarly attention. Thus, scripted television will be the focus of this special issue of *Queer Studies in Media &
Why is it so hard to get interviews with representatives from global media platforms, and what does the lack of access do to our research and scholarly debate? Ein Fehler ist aufgetreten. Sieh dir dieses Video auf www.youtube.com an oder aktiviere JavaScript, falls es in deinem Browser deaktiviert sein sollte.
In children’s television the saying goes that animated content can be exported to other countries and languages, as character voices can be re-recorded to fit various audiences. However, in order to secure access to all markets, this may also lead to certain conventions during production in terms of subject matter, archetypes and political correctness.
By any objective standards, as a Doctor Who and Star Trek fan I am a failure as a parent. It’s a hot summer evening, and I suggest to my children that we put on an episode of Doctor Who (BBC 1963-1989, 2005-). This is met with polite but firm refusal.
Monsters stalk through modern media. They are heard howling from radio, film and television. They are even spinning their tales on every corner of the World Wide Web. Whether adapting illusory techniques from stage, like Pepper’s Ghost, or creating new and experimental forms of monstrosity that range from classic film monsters to urban legends like the Slender Man, our media worlds are crawling with monsters.
The objective of “Theorizing Zombiism 2: Undead again” is to promote interdisciplinary scholarship on one of the most prevalent, yet critically understudied cultural metaphors in contemporary popular culture, namely zombies and zombiism. EXTENDED Deadline for abstract submission: March 10, 2021 Acceptance confirmation: April 10, 2021.
Special Forum of Communication, Culture & Critique (Vol. 15, No. 3, September 2022) Contribution Deadline: June 1, 2021 Contribution Length: 1000-2000 words inclusive of all notes and references Editors: Jamie J. ZHAO (Xi’an Jiaotong-Liverpool University) and Eve NG (Ohio U) In the past decade, TV representations of female masculinity have proliferated and diversified worldwide.
The “big four” American entertainment awards—the Emmy for television, the Grammy for music, the Oscar for film, and the Tony for theater, often referred to by the “EGOT” acronym—have long served as a barometer of mainstream taste cultures in their respective fields. While literature on media awards is not completely absent, its scope has been narrow.
Alongside the important position of Nordic Noir in European crime fiction, it comes as no surprise that Netflix has utilized this subgenre[1] both on the Nordic markets and as part of the streaming service’s transnational ambitions.
Last week I gave my first ever lecture by live online video. Not only was this my debut in a medium that was new to me, but I was also asked to talk about a TV Studies topic I have never taught before, namely the sketch comedy genre.
It’s safe to say that I have been a fan of period dramas since I watched the BBC adaptation of Pride and Prejudice many years ago. As a staple of this genre at large, Jane Austen is not the only party guilty of inherent Whiteness as a pillar of achievement.
