Recently, a very nice academic friend kindly asked me to talk to their television studies students about how to succeed with a career as a ‘television historian’. I explained that there hadn’t really been a ‘career’… it was just some stuff that happened when a hobby got out of control. So I didn’t go.  There was nothing to say. Hmmm… That blog seems to have run shorter than I’d planned.  Sorry for wasting your time.

The Politics of Colour Media Issue 17, Summer 2020 Guest Editor: Dr Kirsty Sinclair Dootson Co-Editors-in-Chief: Ana Maria Sapountzi &

CFP for conference and edited collection, hosted by Huston School of Film & Digital Media, NUI Galway Sept 4-5 2020 Film and Visual Cultures [TV; advertising; photography; media] are instrumental not only in reflecting but in constructing and reinforcing popular images and narratives of ageing.

For its forthcoming issue, Mise-en-scène: The Journal of Film & Visual Narration ( MSJ ) currently seeks submissions that encompass the latest research in film and media studies.

CFP: ‘Queer Representation: Pasts, Presents, Futures’ When: May 21st – 22nd 2020 The Institute for Advanced Studies in the Humanities, Edinburgh Futures Institute and genderED, University of Edinburgh Keynote Speakers: Prof Richard Dyer (King’s College London) and Dr Abigail De Kosnik (UC Berkeley) This conference aims to examine how LGBTQ representation has changed

“… you cannot mobilize a movement that is only and always against;

Earth Day first celebrated in the United States on April 22, 1970 by millions of people and now mobilizing citizens and communities worldwide, represented the first massive expression of public concern with the ecological sustainability of our planet, launching the modern global environmentalist movement.

One of the most fascinating techniques that I’ve acquired from my limited exploits in academia has been that of a “reading” of a single programme – arguments (not my strong point, as you know) and deductions made purely from the text under observation.

While the networks and streaming services continue to appeal to our cultural obsession with the past—from Watchmen and El Camino to the recent restart of Mad About You —I’m still thinking about that return to Deadwood from last spring, as a test case, perhaps, for all of this televisual nostalgia and its impact on us as viewers.

The HBO drama, Watchmen , is part of an ever-growing canon of comic books adapted for TV. Taking place 34 years after its print publication, the TV series refocuses the comic’s deconstruction of Cold War anxieties by exploring ongoing racial tensions in Tulsa, Oklahoma. The narrative centres on the rise of a white supremacist group, which has waged war on the Tulsa police.