This past winter, two new Turkish online streaming services released their first Turkish original shows: In January, Blu TV released Masum and in March, Puhu TV released Fi . A look at the production and success of these shows reveals how streaming is globalizing the Anglo-American notion of quality programming—a homogenization that is contrary to multidirectionality arguments supported by the rise of new centers of production.
The past weekend saw the annual San Diego Comic Con (SDCC) take place, an event which, as Lincoln Geraghty (2014: 96-103) has argued, has come to assume an increasing point of centrality within the screen industries as various intellectual property holders and brands use this to create buzz for new and returning series alike.
** This blog contains spoilers ** Firstly, apologies – this blog contains spoilers. But seeing as 13 Reasons Why was released on Netflix in the UK several months ago (and already covered in a blog by William Proctor back in May), I’m hoping this won’t be too much of a problem.
It’s that time of year again. Marks have all been ratified, and the students have packed their bags and returned to families doubtless anxious to feed them up and process weeks of laundry. Many are gearing up for their graduation ceremonies (our own will be taking place around the time this goes to press), before heading out into the world to seek their fortunes. It is for us, and them, a time of reflection.
Several weeks ago I came across an interesting piece in The Guardian featuring the work of Jason Shulman, a photographer who condenses entire films into a single image by shooting them in one ultra-long exposure. By using this technique Shulman produces haunting images of these films that could quite easily be mistaken for some of the later, more abstract paintings of William Turner.
On May 30thTwitter and the BBC announced a live streaming partnership to provide coverage for a number of election related broadcasts including the May 31st BBC election debate and the June 8th Election Night Special. These election events were simulcast on BBC television.
Thinking about the effects of neoliberalism on television, I’ve recently had reason to re-visit some of the programmes I looked at when I was working on a book about the 1980s. In particular I remembered a fascinating series transmitted across May and June in 1990 called The Television Village . In it residents of a village in Lancashire were given a glimpse of the television future: the future we now inhabit.
I’ve spent the last five months back in the US, thanks to a generous fellowship in Latin American Studies at Tulane in New Orleans.
The recent furor about Oskar Eustis’ open air production of Shakespeare’s Julius Caesar in New York City in which Caesar was dressed up to look like Donald Trump and Calpurnia had a Slavic accent started me thinking about the larger issue of imaginatively representing the current occupant of the White House.
Switching channels. Yesterday’s television theory– today. This year, television scholars celebrate the 30th anniversary of John Fiske’s seminal work Television Culture. Based on a thorough analysis of television programmes, Fiske uncovered the economic and societal implications of television as a cultural institution.
