I have been thinking about a piece written by Elke Weissman[1] a lot recently. In it she describes how her experience at the 2015 MeCCSA conference had ultimately forced her to accept that television watching was (in its medium specific sense) no more. In years since, plenty of scholars have joined her in the search for understanding change, and for functionable terminology.
This post has originally been published on the Women’s Film and Television History Network blog. Katarzyna Paszkiewicz gives an exclusive insight into the evolution of her new publication, co-edited with Mary Harrod, which develops key theoretical questions in relation to women and genre.
In her most recent blog, Elke Weissmann pointed out a peculiar characteristic of her own television viewing experiences – one that is presumably shared by a wide range of audiences.
I’ve spent the last five months back in the US, thanks to a generous fellowship in Latin American Studies at Tulane in New Orleans.
The newly founded feminist and LGBTQIA+ journal Mai is seeking contributions to its special edition, which revolves around ‘Feminist and Queer Perspectives on Sex in Contemporary Film and TV’. /Mai/ is a new journal founded and edited by Anna Backman Rogers (Senior Lecturer in Feminist Philosophy and Visual Culture, University of Gothenburg, Sweden) and is named after the Swedish feminist filmmaker Mai Zetterling.
The big question of this year’s BAFTAs was how many awards Netflix would romp home with.
As the media firestorm surrounding the Netflix TV series 13 Reasons Why continues apace, I have become increasingly concerned by several vaunted claims made by commentators in relation to the potential effects of the programme’s depiction of suicide.
Although Netflix’s approach to genre is different to those predominant in screen studies, the streaming site provides useful contextual materials for teaching on the subject. At several points last semester Netflix proved relevant to discussions of genre as part of an introductory Film Studies module, as well as an Honours ‘Film Genres’ module.
My PhD research examines how television is viewed in the family context, with a particular focus on technology and parenting.
Defiance (2013-15) was an original commission science-fiction TV series which has aired on the SyFy channel in both the US and the UK. Set on Earth in the near-future after a war between humans and immigrant aliens who arrived to settle on the planet, and whose technology has greatly changed Earth’s physical and biological environment through a process named as ‘terraforming’, the show was premised around exploring the interactions
