The body *on *the screen and the body *of *the screen have always formed a compelling and productive pairing. From apparatus theory to production and exhibition histories, these two conceptualizations of cinematic bodies remain valuable avenues for reflecting on the use of images, their visibility, materiality, and presentation.
In the first part of this blog, my discussion of Dark concentrates on the ways in which the series stands out in relation to other examples of complex television in two senses, in the considerably higher level of complexity of plot and narrative and in the self-referential relationship to this complexity.
A research opportunity In the days when we were all confined to our homes, new research opportunities arrived.
Sydney Screen Studies Network Presents: Dial S for Screen Studies 2020 Sydney Screen Studies Network is currently seeking proposals for our 2020 conference, Dial S for Screen Studies , held 18th to 19th November 2020 online via Zoom.
International coproduction, which Michelle Hilmes (2014:10) defines as “a partnership between two or more different national production entities” located in different countries, is exerting a notable influence on the creation of new high-end TV dramas produced outside the US. As ‘peak TV’ continues to expand the annual volume of US-produced TV fiction to unprecedented levels (Koblin 2020), continuing audience demand for distinctive original
Vernon Press invites book chapter proposals for a forthcoming scholarly volume on representations of disability in science fiction, a peer-reviewed collection of essays that will examine how disability identity and experience have been shaped through the science fiction genre.
Open Philosophy invites submissions for the topical issue “Ethics and Politics of TV Series,” edited by Sandra Laugier (Université Paris 1 Panthéon Sorbonne, ERC DEMOSERIES), prepared in collaboration with the European Research Council project DEMOSERIES. TV series are increasingly recognised in current research.
Debate around ‘woke television’ has been increasingly more present in popular parlance.
A new edited collection on true crime in 21 st century American visual and audio media invites proposals for chapters. This new book seeks to present original scholarship on the structure, themes and consumption of true crime in today’s visual/audio media landscape.
This is a reminder that the Learning on Screen (British Universities & Colleges Film and Video Council) termly magazine, ViewFinder is currently open for submission – and the Autumn term 2020 theme is HOME. We are inviting Professors, Academics, Research Students and Practitioners to send pitches and proposals to ViewFinder Magazine.
After a quiet 2019, I had a slew of conferences lined up for 2020. Little did I know what was going to happen as I left the first of them in January, an enjoyable MeCCSA conference in Brighton.
