Two-day international conference, 23rd to 24th May 2022 to be held in person at Sheffield Hallam University and online Keynotes: To be confirmed Convenors: Dr James Fenwick (j.fenwick@shu.ac.uk Sheffield Hallam University) Dr Kieran Foster (Kieran.foster@nottingham.ac.uk University of Nottingham) Unmade, unseen, and unreleased films and TV programmes are a burgeoning area of academic study, allowing for […]
How does your family use Netflix? RMIT University in collaboration with The University of Melbourne and Swinburne University of Technology are conducting a study into how families use the streaming service Netflix. We’d like to hear from all different types of families who use Netflix, and find out what family viewing means to you.
One of the key talking points at this year’s RIPE conference – an event attended by industry and academia – was the issue of how public service broadcasters can continue to compete in a marketplace dominated by global players such as Netflix, Amazon Prime and Disney+. These are platforms with deep pockets (although a lot of that is debt), big-budget productions and subscriber bases that dwarf the PSBs’ own limited domestic reach.
Call for Papers: Gender and TV in Iberia and Latin America Anja Louis (Sheffield Hallam) and Abigail Loxham (Liverpool), UK We invite original papers to be published as part of an edited collection. Our aim is to forge interdisciplinary links between those working in Television and Media Studies, Gender Studies, Iberian and Latin American Studies.
Conference on the Regulation of Old and New Media Forms in Africa Birmingham Centre for Media and Cultural Research Birmingham City University May 2022 Location: Zoom Conference Theme: Regulating African Digital Media Increasingly more African countries are instituting laws, procedures, and policies, seeking to regulate the media ecosystem.
The interaction between American drama and cinema – put more crudely, Broadway and Hollywood – has fluctuated significantly in the last century, but the link between the two was for many years crucial.
In reacting to the zeitgeist, or prevailing focus, of an era, the superhero has previously fought Nazis, participated in Cold War tensions, and addressed the careful balance of government oversight and civilian independence following acts of terrorism and subsequent legislation. How, though, are superheroes reacting to our zeitgeist, the age of digital media?
“Who’d have thought there were so many different sorts of duck?” asked my wife. As the restrictions of lockdown eased during 2020, we’d opted to focus our precious hours of outdoor exercise by walking around the local nature reserve, a delightful area with a modest lake large enough for a good selection of wildfowl but too small to accommodate a barquentine.
Last year, Ian Greaves wrote an illuminating CST blog about the ‘turmoil’ COVID had created for the film journal Sight & Sound . As Greaves discusses, lockdown saw the return of extended reviews of new television in Sight & Sound with a separate television reviews section starting in Summer 2020.
What is television’s capacity to elicit empathy? ‘Stories move us. They make us feel more emotion, see new perspectives, and bring us closer to each other’ (Netflix, 2021). Television can grant us extended access to a diversity of perspectives and narratives. Meanwhile, interactive technologies and the internet promise more personal and collective relationships with the small screen, and with each other, than ever before.