Apologies for not sending you a Christmas card this year. So, let me do it via this blog;

RTÉ recognises that it is in the privileged position of reflecting and shaping our understanding of our society and culture. Few organisations are as influential in Ireland or require greater trust than RTÉ.” (RTÉ spokesperson, 2017) In 2018 the Irish state broadcaster issued its 2018-2020 diversity and inclusion strategy.

For several years, I have watched the development of film and television education in Europe. I have looked at it from different angles, either as a scholar, a researcher or an employer of graduates from different schools.

I thought this week would be a good week to finally talk about Charmed (The WB, 1998-2006, The CW, since 2018). It was Halloween, and part of my rituals of the day include watching the third season episode ‘All Halliwell’s Eve’ which imagines Halloween as ‘the witches’ holiday’, i.e. the day of the year when women’s power is celebrated.

It’s first week of teaching, two and a half weeks after the conference, and an element of the glow still lingers – as so often after a conference, there are moments that still vividly live in my memory.

Beginning with the popularization and mass availability of television in the 1950s, the medium has since extensively been employed to transport and mediate history in manifold ways.

I have been thinking about a piece written by Elke Weissman[1] a lot recently. In it she describes how her experience at the 2015 MeCCSA conference had ultimately forced her to accept that television watching was (in its medium specific sense) no more. In years since, plenty of scholars have joined her in the search for understanding change, and for functionable terminology.

With deep-felt thanks to the respondents. There is a wonderful video on YouTube that shows David Morley being interviewed about his time at the Centre for Contemporary Cultural Studies (CCCS) and his and Charlotte Brunsdon’s work on Nationwide . The video looks like it might be from the late 1980s, early 1990s, and Morley is in quite a reflective mood/mode, explaining how he came to the CCCS and how he came to do the work he

Deadline Extended: 20 March 2018. Television is and always has been changing. The recent shifts, connected to new, online providers creating their own content and offering new forms of distribution, have led to some scholars (Jenners 2016) questioning if the age of TVIV has arrived.

It all started with Traumschiff (ZDF, since 1981). Traumschiff is the German version of Love Boat (CBS, 1977-1986). It is less humorous and more melodramatic, but there is an element of self-deprecation about it: the main stars engage in a lot of winking and eye-twinkling.