Category: Blogs
ENDEAVOURING TO INVESTIGATE NARRATIVE DEVELOPMENTS IN MORSE by Richard Hewett
Pithy title, eh? Oh, well; all will be revealed. As part of my sabbatical I have recently...
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VLOGGERS ON THE DANCEFLOOR: TELEVISION CULTURE’S ONLINE REMIX AND COLLAGE by Berber Hagedoorn
Ever since Strictly Come Dancing’s inception in May 2004, settling into the fall season and...
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TV STUDIES FOR ALL? ON OPEN ACCESS AND PUBLISHING IN TV AND MEDIA STUDIES by Tobias Steiner
Sorry if I’m bringing this up, but something is bugging me… I don’t really know where to...
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ACTORS TALKING ABOUT ACTING ON SCREEN by Christine Geraghty
I have long been interested in writing about performance in television and film and indeed when I...
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BLUEY! THE GORGEOUS CARTOON THAT BROKE CATCHUP RECORDS IN AUSTRALIA by Liz Giuffre
The most exciting thing on Australian television at the moment is happening around 5.50pm each...
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HOMECOMING AND PARANOIA, IN ABOUT THIRTY MINUTES OR LESS by Douglas L. Howard
Whether it’s a plot vehicle, as in Quantum Leap, or ticking away in the background, as on 24, or...
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THE HISTORY PERPLEX IN MATT WEINER’S ‘THE ROMANOFFS’ (PART 2) by Martha P. Nochimson
“After the agony in stony places/The shouting and the crying/ Prison and Palace reverberation/of...
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IN SEARCH OF A ‘REAL’ UNIVERSITY by Richard Hewett
In his preface to the revised edition of Hitchcock’s Film’s Revisited (2002), the late Robin...
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TELEVISION BIOPICS: WHAT CAN THEY CAN TELL US ABOUT TV? by Jonathan Bignell
The term “biopic” is rarely used about television programmes, but biographical drama occurs across...
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THE HISTORY PERPLEX IN MATT WEINER’S ‘THE ROMANOFFS’ (PART 1) by Martha P. Nochimson
“Son of Man /You cannot say, or guess, for you know only/A heap of broken images” T.S. Eliot, The...
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CREATING FOR SOCIAL MEDIA TV: AN INTERVIEW WITH BINIAM BIZUNEH by Stefania Marghitu
This interview has been edited for clarity and length. For the full interview: Creating Content...
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‘BLACK MIRROR: BANDERSNATCH’ AND ‘THE AFFAIR’ OF RE-NARRATION IN (GENDERED TV) TASTE CULTURES by Matt Hills
Black Mirror: Bandersnatch arrived just after Christmas (December 28th 2018), billed as a “Netflix...
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