This past winter, two new Turkish online streaming services released their first Turkish original shows: In January, Blu TV released Masum and in March, Puhu TV released Fi . A look at the production and success of these shows reveals how streaming is globalizing the Anglo-American notion of quality programming—a homogenization that is contrary to multidirectionality arguments supported by the rise of new centers of production.

In an account of Roland Kirk’s appearance on the television programme Soul! , Gayle Wald argues that the mediation of a television camera “renders the affective power of Kirk’s performance more immediate and more suspenseful than it might have been in a nightclub setting” (2015: 124-125). With these words, Wald explodes dominant myths in jazz regarding the primacy of live performance and counters widely-held suspicions regarding the

It’s that time of year again. Marks have all been ratified, and the students have packed their bags and returned to families doubtless anxious to feed them up and process weeks of laundry. Many are gearing up for their graduation ceremonies (our own will be taking place around the time this goes to press), before heading out into the world to seek their fortunes. It is for us, and them, a time of reflection.

Doing Women’s Film and Television History IV: Calling the Shots – Then, Now, and Next University of Southampton, May 23 – 25, 2018 Organising team: Shelley Cobb, Linda Ruth Williams, and Natalie Wreyford As researchers of the AHRC-funded project Calling the Shots: Women and Contemporary UK Film Culture 2000-2015 we are proud to host the fourth International Doing Women’s Film and Television History conference in association

Call for Papers – Special Issue of Science Fiction Film and Television Guest Editors: Lorrie Palmer and Lisa Purse “When the Astronaut is a Woman: Beyond the Frontier in Film and Television” With the release of Hidden Figures (Melfi, 2016), public perception of the iconic era of the space race was reconfigured.

The editor seeks scholarly essays that address some aspect of HBO’s television series The Leftovers (2014-2017) and/or its source text, Tom Perrotta’s novel of the same title (2011) . Perrotta co-produced the series with show runner David Lindelof ( Lost ). Both novel and series are set three years after the “Sudden Departure” of 2% of the world’s population.

The recent furor about Oskar Eustis’ open air production of Shakespeare’s Julius Caesar in New York City in which Caesar was dressed up to look like Donald Trump and Calpurnia had a Slavic accent started me thinking about the larger issue of imaginatively representing the current occupant of the White House.

The horror that the residents, firefighters and loved ones experienced as London’s Grenfell Tower burned is almost unspeakable. Maybe that’s why so much of the coverage was just images. As details emerge about the lack of support and attention to warnings, the event and its toll is also unforgivable.

First, and for the record, let me state that I’m not a huge fan of superheroes.

In endeavoring to comprehend the current conjuncture, I’ve been trying to think back a hundred, fifty, twenty, even ten years. Could I have imagined, just a decade ago, that the following would be progressive nostra today?