September 2020 saw the establishment of the Future of Media Commission in Ireland, which is tasked with considering the various challenges to Irish media and producing a series of recommendations that include how to fund public service media in a difficult environment. Among the challenges being investigated by the Commission are the funding of media, the impact of new technologies and new audience trends and behaviours. Fig.
Many years ago – although possibly not as many as that – I did used to do quite a bit of artwork. Mainly pencil sketching and the odd bit of pointillism with black ink pens… if a piece needed to be published. Not much in colour though. Never very good at that. Possibly when it came to inks and paints I was always a bit too impatient… and the pigments ran and merged and mixed and blended.
HBO’s recent series Lovecraft Country takes up the monsters of H. P. Lovecraft’s universe, but flips the script to make the heroes an African-American cast battling various demons in the Jim Crow era. Arguably, the show aimed at a re-appropriation or détournement of the pulp legend’s troubling racism, but critics seem divided on the show’s success.
The past three decades have seen a remarkable flourishing of documentary film in Russia: the cohort of documentary “masters” who came to prominence in the 1990s, such as Vitaly Mansky, Viktor Kossakovsky, and Sergei Loznitsa have been joined by a new generation of filmmakers, including Askold Kurov, Beata Bubenets, and Alina Rudnitskaya, to name but a few.
Please submit an abstract of no more than 300 words and a one-paragraph biography to SoundOnScreen2021@gmail.com by the deadline stated above. The inaugural Sound on Screen conference welcomes submissions from scholars that explore the relationship between music and/or sound and the screen.
When: May 11th – 14th 2021 Where: Online Keynote Speakers: Prof Richard Dyer (King’s College London) and Dr Abigail De Kosnik (UC Berkley) Institution: The Institute for Advanced Studies in the Humanities, University of Edinburgh This conference aims to examine how LGBTQ representation has changed through time, continues to evolve in the present, and what […]
Representation of queer identities in twenty-first century popular television has undergone massive shifts in the last decade. Whilst queer representation has formed part of the bedrock of reality television, queer representation in scripted television has received less scholarly attention. Thus, scripted television will be the focus of this special issue of *Queer Studies in Media &
Why is it so hard to get interviews with representatives from global media platforms, and what does the lack of access do to our research and scholarly debate? Ein Fehler ist aufgetreten. Sieh dir dieses Video auf www.youtube.com an oder aktiviere JavaScript, falls es in deinem Browser deaktiviert sein sollte.
In children’s television the saying goes that animated content can be exported to other countries and languages, as character voices can be re-recorded to fit various audiences. However, in order to secure access to all markets, this may also lead to certain conventions during production in terms of subject matter, archetypes and political correctness.
By any objective standards, as a Doctor Who and Star Trek fan I am a failure as a parent. It’s a hot summer evening, and I suggest to my children that we put on an episode of Doctor Who (BBC 1963-1989, 2005-). This is met with polite but firm refusal.
Monsters stalk through modern media. They are heard howling from radio, film and television. They are even spinning their tales on every corner of the World Wide Web. Whether adapting illusory techniques from stage, like Pepper’s Ghost, or creating new and experimental forms of monstrosity that range from classic film monsters to urban legends like the Slender Man, our media worlds are crawling with monsters.