Author: CSTonline

SKY HIGH… BUT FOR HOW LONG? by John Ellis

It’s all happening around Sky at the moment. The first was an unexpected bid from the US giant Comcast, disrupting the cosy deal that the Murdoch and Disney groups had planned. The second was Sky’s own doing: to offer Netflix subscriptions on the Sky and Now TV platforms… which now incorporate voice recognition. One is a fascinating business saga that will impact on user choice in the long term. The other is a significant development in the biggest problem that the industry now faces: how to help people find content. The problem with finding content is there is so...

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HOLLYWOOD APOCALYPSE by Gary R Edgerton

Steal a little and they throw you in jail, Steal a lot and they make you king. — Bob Dylan, ‘Sweetheart Like You’ from Infidels (1983) Saturday, 20 January 2018, marked the one-year anniversary of the Trump presidency.  Americans woke up to a federal government in shutdown mode.  Hard core Trump supporters had voted for him to defibrillate the body politic.  Tweet by tweet, he reflexively shook up the status quo over an elongated dog year worth of zigzagging positions and roller-coaster pronouncements.  The events that led up to the shutdown were no different.  After three days of partisan...

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QUANTITATIVE STUDIES IN TELEVISION (PART 2): ALGORITHMS IN ACADEMIA by JP Kelly

This is a follow up to my last post for CST. Given that this is a blog about television it seems only fitting to begin with a brief recap: Previously On Quantitative Studies in Television… In my previous post I described some of my early attempts to analyse television at scale using some widely-available software and a few simple lines of code. As I discovered, some of these approaches yielded more critical insights than others. My first method, “X-Rays” (or composite images), extracted a sample of frames from a video file (i.e., a television episode) before combining them into...

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CFP: Independent Women: From Film to Television

Issue Guest Editors: Claire Perkins (Monash University) and Michele Schreiber (Emory University)  Working in television has historically been considered ‘bread and butter’ labour for female filmmakers around the world. For decades, women have taken on roles in the production, writing and direction of broadcast series as a way of supporting their ‘real’ and hard-won work in feature filmmaking, with these television jobs rarely considered part of their professional profile by themselves or others. Insofar as it functions as paid employment but is not seen or valued at a symbolic or material level in the same way as the development of a film, this type of women’s television work functions as a form of invisible labour. And, given that a large majority of female filmmakers work primarily in spaces outside the global channels that are constructed and understood as ‘mainstream’, this mode of labouring has been especially recognisable in the career pathways of women broadly identified with independent sectors of film production around the world. As we move toward the end of the twenty-first century’s second decade, though, this narrative is undergoing a critical transformation. Radically displaced from the cultural and technological profile that it developed during the twentieth century, television is now regularly valued as the preeminent screen art format of our age, with its once defining distinction from cinema far less pronounced. At the same time, a change in the...

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R.I.P. David Cassidy (12.4.50 – 21.11.17) by Kim Akass

I woke up this morning to multiple messages from friends saying how sorry they were that David Cassidy had died in the early hours of this morning. Strange, but true. Anyone who knows me well knows that David Cassidy was my first love. We have history, David and I.  I stood in the rain and greeted him at Heathrow Airport. I was there at all the concerts.  I was one of the hundreds of fans that were crushed at a concert at White City in 1974.  Luckily I wasn’t hospitalised and even more luckily I did not die, unlike...

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