Guest Editors : Associate Professor Gareth Schott ( University of Waikato ), Dr Margaret Gibson ( Griffith University ), and Dr Clarissa Carden ( Griffith University ). Emotionally charged depictions of death play an important role in much contemporary media directed toward teen and young adult audiences.
Two broadly anthropocene concerns—the ‘human’ condition along with the condition of this human planet, Earth—bear on all discursive practices central to contemporary areas of research in humanities, social sciences, and sciences. Both these concerns reconfigure ways in which humans have come to make sense of themselves and of the world which they share with other forms of life.
Edited by Dr Michael Samuel and Dr Louisa Mitchell To the surprise of analyst expectations, at the end of 2019 Netflix recorded a record-high growth in subscribers and revenue outside of the United States, specifically in its Asia-Pacific region.
In 2016, Netflix committed to “doubling down on kids and families” [1] through increased child and family-oriented Originals [2]. Netflix’s most successful and well-known Original series, Stranger Things , (2016- ) significantly contributed to the creation of a new middle ground of shared family viewing in the subscription-video-on-demand (SVOD) ecology, in which Netflix resists broadcast TV approaches to family
Like many of you, I am now stuck at home, as my University has become a shimmering new constituent college of the virtual campus.
WARNING *: The following text may appear to contain strong language from the outset, but it doesn’t. It really doesn’t. [i] * “█████ turns up in series ███ doesn’t he?” “Oh… for hump’s sake!” [ii] “Sorry… I thought you know.” That was a brief domestic conversation with my wife last night. We’re well-suited and very lucky and very █████ed in that respect.
At this time of crisis because of the COVID-19 pandemic, our ability to physically touch is severely restricted, in order to protect ourselves and others from illness as well as police intervention. This has resulted in an even bigger shift to digital technologies and online interaction with hashtags such as #togetherapart encouraging more culture and connection on the internet in lieu of in-person events and meet-ups.
Fig. 1: Veronica Mars – on the lookout* * Given the opportunity to talk about Veronica Mars , you’re going to have to stop me by the third hour. I’ll thrust my DVD boxset onto anyone and everyone. I was jumping out of my seat at the announcement of season 4, and then quietly pretending it never happened. Veronica (Kristen Bell) has long been held as a third-wave feminist hero in academic scholarship.
Described as a “make-under” reality show, Snog Marry Avoid has been subject to scholarly debate and public criticism for equating “middle-class taste with a ‘natural’, desirable state of being” (Murphy, 2012, p.1). This blog will explore if transformational makeover TV enforces Western beauty stereotypes on a diverse British audience, with particular reference to industrial contexts and feminist readings of the texts.
Terry Gilliam is not only popular for being part of the Monty Python-troup but also for the movies he has directed in his own style, such as Time Bandits (1981), Brazil (1985), The Fisher King (1991), 12 Monkeys (1995) and The Imaginarium of Doctor Parnassus (2009). From dystopian to fantastic and magical settings, and worlds often populated by bizarre figures, Gilliam’s movies are united by their
Adaptations have played a significant role throughout the history of Nordic cinema, from Victor Sjöström’s reverential silent adaptations to Aki Kaurismäki’s quirky take on world literature. To this day, adaptations remain of utmost importance to Nordic film and television, as the multi-media phenomenon of Nordic noir conclusively establishes.