Edited by: James Rendell and Kate Egan Submission deadline: 31 st July 2022. If ‘[w]e… want to think about horror as an umbrella term encompassing several different sub-categories’ (Cherry 2009: 3), frequently clustered as ‘cycles’ located on particular media at specific times and places (Mittell 2004: 8; Hutchings 2004: 15-16), then horror fans are even more nebula.
Iluminace 1/2023: Television and COVID-19: How to Deal with Global Pandemics While Broadcasting (Extended deadline for abstracts July 15, 2022;
Last month ITV announced that I’m A Celebrity… Get Me Out of Here (2002-) would be returning to Australia.
The research project ’Reaching Young Audiences: Serial Fiction and Cross-Media Storyworlds for Children and Young Audiences’ (RYA) seeks to provide detailed knowledge about the production and reception of film, TV and online fiction for children, tweens and teens through in-depth analysis of the current strategies for creating engaging fiction for young audiences and extensive qualitative case studies of their media use.
A two-day research symposium Symposium organizers: Prof. Rayna Denison (University of Bristol) and Dr. Cristina Formenti (University of Udine) “On the stroke of 5:15, I happened to be walking into the radio and television department of Harrods and there, on a third of the television sets in the place was Kermit, waving his green arms about. Everybody, customers and assistants alike, paused and edged towards him.
Since its inception, mediatization has been a contested term within media and communication research that includes different perspectives on the interrelation between technological and sociocultural change.
Among the most difficult aspects of videographic criticism is getting started.
I recently attended an online course at Aarhus University titled, “Transnational VoD Cultures”. Aimed mainly at PhD researchers, whose research is in some way affected by the transnational nature of streaming platforms and television today, the course made me think about the transnational nature of television in South Africa, where I live.
In the age of Riverdale and Euphoria – both “teen” dramas as much as a rabbit is a lamp – I have found a real teen television gem I would like to introduce you to. Netflix/See Saw’s adaption of Alice Oseman’s Heartstopper graphic novels has blown up across the world. It has featured in the top 10 on UK Netflix since its release.
Introduction In this post, we reflect on our TV Dictionary entries on The Bridge/Bron/Broen (2011-18), which were released at around the same time and made completely independently of each other. We both offer an account of what we thought we were trying to achieve with our videos, as well as reflecting on each other’s work: these reflections were also written independently of each other.
This is a taster of a chapter I have just published about unusual and expressive uses of sound in TV.[1] The chapter is in one of the Moments in Television series books that I blogged about recently, and focuses on an episode of the science fiction series The Twilight Zone : ‘The Invaders’ (1961). The episode has no dialogue, though it has some narration spoken to camera and some music, and the absence of speech made me think about what