With the British government’s latest diktat concerning the future of the public service broadcaster, Channel 4, now fully revealed, it is time to consider the contribution Channel 4 has made, not only to the British media landscape, but to personal and public experiences as a whole over the last 40 years. I say both personal and public experiences because that is how television works, and Channel 4 has been influential in both respects.

When it comes to the shortage of Production Managers there’s a coyness about stating the blindingly obvious, argue Christa van Raalte and Richard Wallis The shortage of Production Managers and Coordinators has become a hot topic. It was highlighted in the recent Screen Skills review of unscripted television, with some of the underlying issues further discussed in Adrian Pegg’s impassioned Broadcast article.

“Materialism,” “materials,” “materiality,” “matter”: for scholars in screen and media studies, is there anything these terms can’t do? They shape our common critical vernacular, from references to “source material” to discussion of “subject matter.” They also sustain a range of approaches to screen media—from cultural materialist frameworks (Garnham; Williams) to theories of the cinematic apparatus (Baudry; Hanich; Pedulla; Straw;

Channel 4’s first programmes were broadcast on 2 November 1982, 40 years ago. Royal Holloway University of London’s School of Performance and Digital Arts, and Centre for the History of Television Culture and Production are planning a conference for 23 and 24 September 2020 to assess Channel 4 on its 40 ^th birthday.

28 April 2022 will mark the centenary of the birth of Nigel Kneale – or more properly Thomas Nigel Kneale – a Manx-born writer whose works loom large in my own areas of interest and also across various genres of British television as a whole.

The Netflix series Formula 1: Drive to Survive (2018-) just entered its fourth season.

Like many of you (I’m guessing), I have spent much of my HE career teaching the theory elements on practice or production-focused degree programmes. The theory/practice line (and yes, it’s tempting to type ‘division’) can be a challenging one to negotiate, not least in terms of helping students understand how what I do relates to my industry colleagues’ work.

We invite proposals for 20-minute papers and 80-minute panels to be presented at the sixth Fear 2000 conference, Fear 2000: Horror Undying . Hosted by staff and postgraduate students in the Centre for Culture, Media and Society and the Department of Media Arts and Communication at Sheffield Hallam University, this online conference will explore connections between twenty-first century horror and the genre’s history.

In his book Animals on Television (2017), Brett Mills states that “representations of animals often function to highlight cultural understandings about what it is to be human.” Nonhuman animals have been unwilling objects of the human gaze: humans have been exploiting animals (real and imagined) on the basis, and the attendant continued perpetuation, of self-assigned human superiority and centrality.

Application period is extended for the 2022 CNRS Thematic School “Moral and Social Issues in Television Series,” organized by the ISJPS (UMR 8103 CNRS/Paris 1 Panthéon-Sorbonne), with the support of the ERC DEMOSERIES and in partnership with the Institut ACTE (EA 7539/Paris 1 Panthéon-Sorbonne), La Fémis, and the University Gustave Eiffel.