When, in years to come, my mind flits back to the 2021/22 academic year, it will not so much be global events (which have, let’s face it, been unremittingly depressing) that I recall. Rather, I will look back on this twelvemonth as a period of departures – and returns.
When it comes to television, my wife and I occasionally like to give series second chances. Just because we felt a show stank on its original airing doesn’t mean that we simply caught it at the wrong time for us with where we were in our lives.
Last month ITV announced that I’m A Celebrity… Get Me Out of Here (2002-) would be returning to Australia.
As has been noted by several scholars in recent years, retaining and attracting audiences – especially young audiences – has become of particular importance to public service broadcasters (PSB) around the world due to challenges presented by the current age of abundance marked by fierce competition, convergence culture and digitalization (e.g. Lowe &
Among the most difficult aspects of videographic criticism is getting started.
I recently attended an online course at Aarhus University titled, “Transnational VoD Cultures”. Aimed mainly at PhD researchers, whose research is in some way affected by the transnational nature of streaming platforms and television today, the course made me think about the transnational nature of television in South Africa, where I live.
In the age of Riverdale and Euphoria – both “teen” dramas as much as a rabbit is a lamp – I have found a real teen television gem I would like to introduce you to. Netflix/See Saw’s adaption of Alice Oseman’s Heartstopper graphic novels has blown up across the world.
Introduction In this post, we reflect on our TV Dictionary entries on The Bridge/Bron/Broen (2011-18), which were released at around the same time and made completely independently of each other.
This is a taster of a chapter I have just published about unusual and expressive uses of sound in TV.[1] The chapter is in one of the Moments in Television series books that I blogged about recently, and focuses on an episode of the science fiction series The Twilight Zone : ‘The Invaders’ (1961). The episode has no dialogue, though it has some narration spoken to camera and some music, and the absence of speech made me think about what
Two years ago, I wrote a provocation for CST about the problems that the continued tendency to priorities research on a particular kind of television creates for the academy. I argued that all we do is underpin existing hierarchies of gender and race in the academy and that a solution could be that we look at other television.