The idea of “failure” has often been understood as objective and one-dimensional, with failure as the opposite of the constructed notion of “success.” Failure can also be viewed as a multi-faceted process that operates outside of a failure-versus-success model, and occurs across layered facets of the media industries that reverberate on cultural, political, economic, and aesthetic levels.
A CREAM, University of Westminster conference, in collaboration with the University of Brighton July 28 th and 29 th 2022, Fyvie Hall, 309 Regent St., London W1B 2HT Organisers: Dr. Christopher Hogg – C.Hogg@westminster.ac.uk (University of Westminster) Dr. Douglas McNaughton – D.Mcnaughton@brighton.ac.uk (University of Brighton) Dr. Andrew O’Day – aoday41414@aol.com (Independent Scholar)
Two-day international conference, 23rd to 24th May 2022 to be held in person at Sheffield Hallam University and online Keynotes: To be confirmed Convenors: Dr James Fenwick (j.fenwick@shu.ac.uk Sheffield Hallam University) Dr Kieran Foster (Kieran.foster@nottingham.ac.uk University of Nottingham) Unmade, unseen, and unreleased films and TV programmes are a burgeoning area of academic study, allowing for […]
How does your family use Netflix? RMIT University in collaboration with The University of Melbourne and Swinburne University of Technology are conducting a study into how families use the streaming service Netflix. We’d like to hear from all different types of families who use Netflix, and find out what family viewing means to you.
Call for Papers: Gender and TV in Iberia and Latin America Anja Louis (Sheffield Hallam) and Abigail Loxham (Liverpool), UK We invite original papers to be published as part of an edited collection. Our aim is to forge interdisciplinary links between those working in Television and Media Studies, Gender Studies, Iberian and Latin American Studies.
Conference on the Regulation of Old and New Media Forms in Africa Birmingham Centre for Media and Cultural Research Birmingham City University May 2022 Location: Zoom Conference Theme: Regulating African Digital Media Increasingly more African countries are instituting laws, procedures, and policies, seeking to regulate the media ecosystem.
The interaction between American drama and cinema – put more crudely, Broadway and Hollywood – has fluctuated significantly in the last century, but the link between the two was for many years crucial.
In reacting to the zeitgeist, or prevailing focus, of an era, the superhero has previously fought Nazis, participated in Cold War tensions, and addressed the careful balance of government oversight and civilian independence following acts of terrorism and subsequent legislation. How, though, are superheroes reacting to our zeitgeist, the age of digital media?
What is television’s capacity to elicit empathy? ‘Stories move us. They make us feel more emotion, see new perspectives, and bring us closer to each other’ (Netflix, 2021). Television can grant us extended access to a diversity of perspectives and narratives. Meanwhile, interactive technologies and the internet promise more personal and collective relationships with the small screen, and with each other, than ever before.
In the introduction to The Routledge Companion to Screen Music and Sound (2017) , Miguel Mera, Ronald Sadoff and Ben Winters write, ‘screen music and sound has consistently ignored aspects of process in favor of the interpretation of completed texts’ (p. 5). Such calls for analysing media production processes have been made since at least the 1980s (Maltby 1983;
