How does your family use Netflix? RMIT University in collaboration with The University of Melbourne and Swinburne University of Technology are conducting a study into how families use the streaming service Netflix. We’d like to hear from all different types of families who use Netflix, and find out what family viewing means to you.
ITV’s Love Island , where gorgeous singletons compete to find love, was the surprise reality hit of the last decade. Format sales tipped £1billion for ITV as the show was replicated all over the globe. It won the BAFTA for best reality show in 2018 and had done the unthinkable attracted back to appointment-to-view television the elusive 16-34 demographic.
You may have read about or seen VH1’s reality show Cartel Crew , which began in January and is entering its second season. The Crew cast is formed of close relatives of dead or imprisoned narcos . These offspring may themselves have been in the joint, or benefited directly or indirectly from their parents’ illegal wealth, but now, they are putatively on the straight and etc.
My last blog for CSTonline (a response to Toby Miller’s first blog of this academic year) talked about my experiences of moving to America and setting up a new life. Whereas Toby hadn’t quite got wired up for TV, I had, but that still didn’t stop me bemoaning the loss of familiar UKTV and bellyaching about how difficult it was to negotiate the amount of channels available to me in the US. ‘Spoilt brat’ some might say.
“There are only two kinds of people in this world. Those who hear the music and those who don’t.” So says Trevor Chaplin as he places another of his beloved jazz LPs on the turntable in the concluding instalment of Alan Plater’s blissful antidote to thriller series The Beiderbecke Connection (1988). And we know he’s not just talking about jazz.
How to write about a television programme that you love and that has even moved you to tears? Many years of teaching Film and TV have not really prepared me for this. In the eighties, when I first started teaching, we were largely in the grip of the Screen journal pleasure is suspicious era. (Indeed at PCL it was pretty much required as a critical approach on the MA Film &
This is a follow up to my last post for CST . Given that this is a blog about television it seems only fitting to begin with a brief recap: Previously On Quantitative Studies in Television… In my previous post I described some of my early attempts to analyse television at scale using some widely-available software and a few simple lines of code.
I woke up this morning to multiple messages from friends saying how sorry they were that David Cassidy had died in the early hours of this morning. Strange, but true. Anyone who knows me well knows that David Cassidy was my first love. We have history, David and I. I stood in the rain and greeted him at Heathrow Airport. I was there at all the concerts.
In August 2017, The Wrap published an article written by Kai Cole, architect,actor and producer who was married to producer, writer and director Joss Whedon for 16 years. Under the title “Joss Whedon Is a ‘Hypocrite Preaching Feminist Ideals,’” , Cole claimed that Whedon had a series of affairs with young women he worked with in the film and TV industry while married to her.
Viewer classification has been central to audience research and measurement since the early years of television. Efforts to gain knowledge of the viewing public have depended upon a system of classification and categorisation that segments and delineates the viewing public into recognisable social groups that can be used to steer programme policy and planning.
