It is the end of May, and we are coming to the end, I assume, of the high-budget, ‘quality’, event-TV dramas that follow the blockbuster repeat series of the winter months. In Britain, this meant that we got to see a lot of dramas that were usually based on real crime cases.
N.B. This article contains SPOILERS relating to the FIRST FOUR EPISODES OF THE NEW SERIES OF TWIN PEAKS. Do not read this if you haven’t seen these and want to remain unspoilt.
The big question of this year’s BAFTAs was how many awards Netflix would romp home with.
The BFI Media Conference is a unique event for teachers of film and media at 16+ and in HE, bringing together an exciting mix of new and creative ideas from the worlds of the media industries, teaching and research.
Call for Chapters Within the fields of film and television studies, feminist critics and scholars of the 1980s and 1990s have extensively analyzed the figures of women murderers in classical film genres like film noir and melodrama, as well as in less savory genres like the horror films of the 1970s and 1980s.
In this blog post I want to challenge the separation of ‘official’ and ‘unofficial’ paratexts as divergent trajectories within what Jonathan Hardy (2011) has named the ‘commercial intertextuality’ of contemporary television series. To do this, I’m going to respond to Jason Mittell’s recent post for In Media Res where he suggests exploring the affective, rather than purely interpretive, meanings that paratexts generate.
Part Two: Whose Show? [ Part Two of “ GENRE OUT OF THE BOX” delves further into the connection between genre and gender ] In Part One, I explored the genre hybridity of Miss Fisher’s Murder Mysteries, and began my inquiry into how the hybridity impacts on the construction of gender in the series,
Netflix’s Jessica Jones and the BBC’s Happy Valley, on the surface, may seem to provide different viewing experiences, yet they share certain distinctions beyond the obvious element of both series depicting leading female detective/crime-solving characters.
Episode 4 of the Icelandic drama Trapped (2015), currently showing on BBC 4, finished with a spectacular avalanche. The avalanche had been predicted by one of the characters who then triggered it in the hope of diverting it away from the town. But the event itself generated hardly any suspense about the fate of characters who might be caught in its path.
Released in its entirety on Netflix on December 18 th , 2015, the 10-episode long crime documentary, Making a Murderer – directed by Columbia University film graduates Laura Ricciardi and Moira Demos – quickly became the ‘must see’ global TV hit of Christmas and the New Year.
