This blog considers the psychological conundrum of ageing within the academic workplace, offering an autoethnographic approach, reflecting upon passing moments from film and TV, that are both treasured, and engrained in the author’s psyche. “Drive Louise! Drive!
This is a call for chapters on the following FX Channel documentary and reality TV series: Morgan Spurlock’s 30 Days (2005) , New York Times Presents (2020-2023) , AKA Jane Roe (2020) , Welcome to Wrexham (2022-present) , and The Secrets of Hillsong (2023) for an edited book collection (The FX Reader), which is under a two-volume book contract with Syracuse University Press.
I initially started writing this blog on Tuesday (we’ll certainly remember, remember, this 5 th of November). Currently living in America (although not for much longer – I’m one of the lucky ones) and a TV scholar, I watched the television advertising campaign for the presidential race with equal parts fascination and horror. I am sure that, across the globe, everyone is still reeling from the shock of the results.
Editors: Bas Agterberg, Lisa Kerrigan, Dana Mustata, Alistair Scott This special issue of VIEW Journal of European Television History and Culture explores creative ways in which media scholars, archivists and practitioners can expand on the possibilities that broadcast archives hold for historical knowledge production.
Siegfried Kracauer in Theory of Film describes the strangely transporting effect of memory while watching old documentary films containing recognisable childhood objects.
Organized by Luca Barra, Matteo Marinello, Emiliano Rossi (Università di Bologna), Susanne Eichner (Filmuniversität Babelsberg Konrad Wolf, Potsdam) and Anne-Katrin Weber (Université de Lausanne)
‘The ghosts of the Confederacy will not die.’- Colonel Anderson (Kurt Smallwood); 1.1 One of the hallmarks of Western films—here meant in the sense of ‘Spaghetti’ rather than ‘the West’ —is the idea of the cowboy/gunslinger riding off into the sunset, either alone or possibly with one or more of his fellows.
Spanish television programming has undergone a major shift in recent months, with the access-to-prime-time slot becoming the new battlefield for viewership, attracting the attention of media and audiences alike.
Production Managers (PMs) in television production are mainly female, and as in other industries this ‘feminised’ role is typically afforded lower status than those predominantly performed by men. In our recent study, we explored the experiences of PMs in the UK industry, a group of workers who are often rendered invisible, both within the industry and in television scholarship.
“Chilling,” “a dark delight,” “magnificent,” “triumphant,” and “explosive” are all words that have been used to describe the British police crime thriller Happy Valley.[1] First screened in 2014, it reached an audience of over 8 million and became a hit with critics and the audience alike.
