‘Television is not dead’ was one of the opening statements of John T. Caldwell at the biennial ECREA Television Section conference Redefining Televisuality: Programmes, Practices, Methods . The conference took place from the 25th to the 27th October 2023 at the Film University Babelsberg in Germany. Experts from all over the world traveled to Babelsberg to discuss the overall topic of change in television.

Online conference organized by Justine Breton (Université de Reims Champagne-Ardenne, CRIMEL), Claire Cornillon (Université de Nîmes, RIRRA 21) and Florent Favard (Université de Lorraine, Crem). As a short-form comedy that draws on situational humor without being a sitcom, a fantasy series that hijacks the codes of science fiction to raise a number of philosophical and ethical questions, The Good Place is an original item within the

This symposium is organised by: Christa van Raalte, Associate Professor of Film and Television, Bournemouth University; Melanie Gray, Dean of the School of Arts, Humanities and Social Sciences, Roehampton University; – Parisa Gilani, Principal Academic in Leadership, Bournemouth University; Melissa Carr, Lecturer in International Human Resource Management, Henley Business School, University of Reading.

Two weeks into my MA, I attended a conference.

Nineties comedy/crime drama Due South (multiple international production partners, 1994-1998;

Thirty years ago today [1], I made my first visit to an amazing place. A place that – like one of my favourite fictional concepts brought to me via the modern miracle of television – is bigger on the inside than the outside.

In the last two decades, digital media infrastructures have spread worldwide, including the global South. Despite inequalities of access, low-cost mobile devices and cheaper broadband have connected large subaltern populations to media infrastructures. The effects are increasingly planetary, initiating a series of debates in media scholarship and cultural theory.

This edited volume on Sylvester Stallone will be a contribution to a new series of ‘Screen  Storytelling’ texts published by Bloomsbury Academic. The SCREEN STORYTELLING series is designed for students, professors, and enthusiastic consumers of film, television and new media who seek information about contemporary and historically significant screenwriters that is both accessible and critically rigorous.

It is not uncommon for bands from outside the US to find success in ‘breaking’ the US market through becoming famous in New York City (Edwardson 2008 on Canadian musicians who have done so). This can be thought to be a corollary to the so-called ‘American Dream’ coupled with the Protestant Work Ethic (PWE) and the fallacious belief in a meritocracy, in which anyone who works hard enough can attain success in the form of upward mobility (Fisher

As a current master student at the Film University Babelsberg Konrad Wolf, I’ve come to realize that my previous bachelor’s studies in communication offered limited exposure to television studies.

As a first year MA student of media studies at Film University Babelsberg, I recently had the privilege of attending the ECREA Television Section Conference Redefining Televisuality: Programmes, Practices, Methods , October 25th to 27th in Potsdam, Germany. The conference invited researchers to critically engage and revisit the concept of Televisuality developed by John T. Caldwell.