Deadline: June 15, 2017 In cooperation with the Deutsch-Amerikanisches Institut Saarland, the Chair of North American Literary and Cultural Studies at Saarland University (UdS) will hold a 2-day American Studies Graduate Forum that invites doctoral and advanced Master students to present their current projects-in-progress in a workshop-style setting.

Deadline: 29 Sept 2017 The Bamberg Graduate School of Literary, Cultural and Media Studies (BaGraLCM), in cooperation with the departments of English Literature and American Studies at the University of Bamberg, is hosting an interdisciplinary conference on war, trauma, and disease in past and present from March 9 to March 11, 2018.

Call for chapters: Proposals submission deadline: 1st September 2017 Notification of acceptance: 30th September 2017 Full chapters due: 15th January 2018 Planned submission of manuscript: 1st March 2018 Overview: “Science fiction is the major non-realistic mode of imaginative creation of our epoch. Why? Because science and technology are continually changing the conditions of our existence.

Serialised Storytelling organises the second international conference “Cultures, memories, values” hosted by the Hanze University of Applied Sciences of Groningen, the Netherlands. Conference date: 30th and 31st of October 2017. Storytelling in a serialised form has become a popular vehicle to convey certain values, key events and many specific traits of a given culture.

“What’s in the box?” Dean Winchester asks in “The Magnificent Seven,” episode one of the third season of Supernatural , to the befuddlement of his brother Sam and their avuncular mentor Bobby Singer, but to the delight of fans who revel in the show’s wry meta elements. Dean is of course quoting Detective Mills, Brad Pitt’s character in the thriller Se7en (1995), directed by David Fincher.

Science fiction has always indicated that it is a matter of when—not if—some kind of Apocalypse will occur. When it does, what will happen to the organisms that inhabit Planet Earth? Will humans revert to some type of proto-human? Will they “rise” to the occasion and create something better? Will the strong survive, only to subjugate the weak?

The big question of this year’s BAFTAs was how many awards Netflix would romp home with.

The end of my university career approaches as a result of my (reluctant) acceptance of voluntary redundancy. I will finish in November 2017 after 25 years of teaching media at the University of Waikato. There is a bigger picture; by leaving in November, my colleagues will not have to go through a demeaning process of re-applying for their jobs. But they will also be hard pressed to cover all our courses and satisfy student demands.

The Broadcasters’ Audience Research Board, or BARB, tells us the who what, when, where, and how of watching British TV and computer screens. Jointly owned by ITV, Channel 4, Channel 5, Sky, the Institute of Practitioners in Advertising, and the BBC, it has been going in its current form for many years, shifting as required to keep track of changes caused by deregulation and the proliferation of consumer technologies.

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.

We are inviting chapter submissions for a new edited collection focusing on gender and horror. This edited collection aims to re-examine horror in an era of remakes, reboots and re-imaginings.