Video Playtime , Ann Gray’s account of the domestic use of the VCR in the 1980s, was one of the great cultural studies accounts to come out of early television studies. In describing and analysing ‘the gendering of a leisure technology’, Gray gave space for her respondents’ accounts of their changed viewing habits and analysed them sympathetically and shrewdly.
Towards the end of last year I had the privilege of taking part in a panel on LGBT characters in science fiction television at the BFI Southbank as part of their Days of Fear and Wonder season. Chaired by Emma Smart the panel—myself, Stacey Abbott and Ewan Kirkland—offered some thoughts on the topic and then took questions, largely from the audience.
… is the kind of television I ought to disapprove of. It is ‘drama run by the costume department,’ as Rupert Murdoch once said of the ruling-class fantasies of grandiose UK period fiction.
When Robin Williams died in August there was an outpouring of grief, disbelief and finally, celebration. While in recent years Williams’ television work may have been overshadowed by his film appearances (including academy award nominations and awards), it was the small screen with its continued intimacy, domesticity and interaction that showcased his talent following his death.
The difference between commemoration of the fiftieth anniversaries of Doctor Who last year and The Wednesday Play in 2014 could hardly have been more marked. I feel as though I have lived through general elections that got less press coverage than the Doctor Who anniversary, while the only attention given to The Wednesday Play was half a dozen BFI screenings; no repeats, no books, no documentaries.
Gerry and Sylvia Anderson began making puppet series for British television in the 1950s, and by the end of the 1960s, their company had made Supercar , Fireball XL5 , Stingray , Thunderbirds , Captain Scarlet and the Mysterons and Joe 90 . Anderson’s last puppet series of the decade was The Secret Service , blending live action with
Now that I’m moving between part-time academic posts in three countries, I’m lucky, needy, or nerdy enough, to look for, accept, or leap at short-term opportunities. This week I’m a visitor at the Advanced Cultural Studies Institute of Sweden in Nörrkoping. Last week I did the same thing at Chile’s Pontificia Universidad Católica de Valparaíso.
In the most recent episode of Matt Berry’s sitcom Toast of London, the titular thespian demonstrated a lamentable (though characteristic) disengagement from his profession by several times announcing: ‘I never watch the television. Though I have heard that Breaking Bad is very good.’ Ah, Breaking Bad; I’ve only seen the episodes I’ve had to teach, so maybe I’m the one who’s disengaged. To be honest, I’d much rather watch a bit of ‘old’ TV.
The objects of two of my fandoms – Doctor Who and The Archers – have been in the news in the past few months because of cast changes.
Like many music fans, I spent the last weekend of June glued to the box, watching the BBC’s extensive coverage of Glastonbury. Actually, to call their coverage ‘extensive’ is something of an understatement. Over four days, the Beeb broadcast more than 250 hours of live music performances across television, radio, red button and online services. In excess of 100 acts were filmed exclusively for the corporation.
As a fan of the teen drama series genre, I’ve been following E4’s recent offering, Glue (2014),* *with keen interest. Set in an English rural community, Glue is a teen/crime drama generic hybrid. The series’ over-arching narrative, stretching across all 8 episodes, centres around the death and subsequent murder investigation of a 14 year old boy.