Author: CSTonline

THE CROWN FAILS TO TAKE THE CROWN AT BAFTAS by Lyndsay Duthie

The big question of this year’s BAFTAs was how many awards Netflix would romp home with. Most of the industry attention was focused on the way the various subscription video on-demand services have grown to prominence over the past few years and most people expected Netflix’s much-lauded £100m drama, The Crown, to walk away with a hatful of awards – after all, it dominated with five nominations, including best drama, and for three of its actors. But it wasn’t to be. On the night the spoils went to the BBC’s Happy Valley, which was made on a fraction of...

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MARILYN MONROE’S TELEVISION SET by Geoff Lealand

The end of my university career approaches as a result of my (reluctant) acceptance of voluntary redundancy. I will finish in November 2017 after 25 years of teaching media at the University of Waikato. There is a bigger picture; by leaving in November, my colleagues will not have to go through a demeaning process of re-applying for their jobs. But they will also be hard pressed to cover all our courses and satisfy student demands. In anticipation of departure, I have begun a process of evaluating and discarding stuff from an office packed full of it. This first job...

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WHO WATCHES BRITISH TELEVISION TODAY, ANYWAY? by Toby Miller

The Broadcasters’ Audience Research Board, or BARB, tells us the who what, when, where, and how of watching British TV and computer screens. Jointly owned by ITV, Channel 4, Channel 5, Sky, the Institute of Practitioners in Advertising, and the BBC, it has been going in its current form for many years, shifting as required to keep track of changes caused by deregulation and the proliferation of consumer technologies. The Board says that advertisers and broadcasters spend £7.5 billion a year on making, buying, promoting, and distributing televisual content. BARB’s boast is that it maintains and circulates the ‘currency that is trusted to...

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A DEFENCE OF 13 REASONS WHY by William Proctor

  As the media firestorm surrounding the Netflix TV series 13 Reasons Why continues apace, I have become increasingly concerned by several vaunted claims made by commentators in relation to the potential effects of the programme’s depiction of suicide. One of the most frequent criticisms is that watching the series may potentially transmit harmful ‘messages’ into a vulnerable person’s head — invariably a child or teenager — and encourage them to take their own life. This kind of ‘copycat’ syndrome belongs to what is described in the academy as ‘the media effects tradition’; that is, a model of media...

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CFP: Trans TV – 13-15 September 2017, University of Westminster

Transformations of Television Industries Transformations of Television Consumption Practices Transformations of Televisual Aesthetics, Narratives and Identities 21st Century Transnational and Transmedia Television Practices Wednesday the 13th of September to Friday the 15th of September, 2017, University of Westminster, 309 Regent St, London. Organised in Collaboration with the CREAM and CAMRI research centres and the Faculty of Media, Arts and Design at the University of Westminster. Organising Committee: Dr Michael Goddard, Dr Christopher Hogg, Jane Thorburn, Paul Dwyer, Ged Maguire, Robert Benfield, Simon Passmore. Confirmed Academic Keynotes: Professor Amanda Lotz (University of Michigan) Professor Matt Hills (University of Huddersfield) Professor Jaap Kooijman (University of Amsterdam) The conference will also feature key television industry guests TBC. This conference proposes an examination of contemporary television under the impact of new platforms for production, dissemination and consumption such as Netflix and Amazon, coming after earlier technological and cultural dislocations of television such as cable, satellite, and home recording practices. These shifts have already displaced television from a stable technological apparatus, conventional television institutions and networks and schedule-based viewing. The latest turn of this ongoing series of transformations, poses questions of whether this is leading to a wider transformation of the very definition of the medium itself, as well as facilitating new forms of transmediality and transnationality in television production and consumption practices. Are series produced by, disseminated on and/or consumed via these new...

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