Beginning with the popularization and mass availability of television in the 1950s, the medium has since extensively been employed to transport and mediate history in manifold ways.

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.

Local television outlets are essential places for the development and dissemination of local content. However, if you’re in a market that is anything other than America, the capitalist side of the industry has long fought against this – with commercial broadcasters in particular looking at cheap and reliable imports rather than necessarily investing in local productions. Cue another repeat of The Big Bang Theory.

This past winter, two new Turkish online streaming services released their first Turkish original shows: In January, Blu TV released Masum and in March, Puhu TV released Fi . A look at the production and success of these shows reveals how streaming is globalizing the Anglo-American notion of quality programming—a homogenization that is contrary to multidirectionality arguments supported by the rise of new centers of production.

Media Convergence Research Centre and Centre for Culture and Creative Industries Bath Spa University, Corsham Court Campus One-Day Academic-Industry Workshop: Friday 24th November 2017 Confirmed Industry Speakers: Alison Norrington, Creative Director at StoryCentral Ltd.

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.

According to the most recent iPlayer monthly performance pack (April-June 2016) – a periodical report by the BBC that examines iPlayer usage – the online service fulfilled 290 million programme requests in June 2016 alone.

Colombia’s narcotraficantes [narco-traffickers] emerged as a consequence of many complex factors. Washington supported the trade in drugs during its war in Vietnam as a means of funding proxy local actors, who quickly perceived potentially powerful market forces at play among the US military, and fuelled a demand that was soon repatriated.

Why has the television business made it so hard for its users to find something they want to watch? It used to be so easy. You turned on the TV and instantly there was something, if you didn’t like that you could hop from one channel to another… or use the handy scheduling grid to find what was on when. There is no equivalent for the digital age.

Unbreakable Kimmy Schmidt (2015-) is a Netflix comedy produced by Tina Fey and Robert Carlock, and follows the life of 29-year old Kimmy Schmidt (Ellie Kemper) in New York City after her rescue from an underground cult.