Podcasts about Television studies

Tomás Hardiman is a film producer and a survivor of childhood abuse. His recent documentary “The Days of Trees” tells the story of his own experience of childhood sexual abuse, and his long road to recovery. In this conversation, Tomás reflects on the years he spent in the dark, his gradual process of healing, and how he was able to convert his deepest childhood wound into a creative project - a documentary that is now impacting people all over the world. Gabor Maté had this to say about it: 'It's all about healing and transformation, a person finding themselves… I really urge you to see it. A beautiful film.' Here are some of the things we explore in this discussion: — How memory, shame, and repression often intertwine in trauma — Why Tomás almost walked away from the film — The role of creative work in transforming suffering — How Tomás has been able to forgive the seemingly unforgivable. And more. You can watch the film at https://thedaysoftrees.com/ and get 50% off if you use the code: TWU50 when purchasing. --- Tomás Hardiman holds a B.Comm from NUI Galway (1979) and an M.A. in Film and Television Studies from Dublin City University (1992). After graduation he worked in human resources in Dublin before living for a time in Toronto, where he began a professional career in the theatre as General Manager of Mercury Theatre Company. Following his return to Ireland he was appointed Marketing/Publicity Director of The Abbey Theatre where he worked from 1985 to 1993. He then returned to Galway where he ran his own communications and independent film production company, Parzival Productions. From October 2002 to November 2007 he was Managing Director of Galway Arts Centre and the Cúirt International Festival of Literature. He was a member of the board of Theatre Forum, the representative group for Irish arts organisations, from 2005-2007. He continues to produce and manage creative projects across multiple artforms and in 2013 completed a three-year training programme to become a teacher of the Alexander Technique. He produced eleven films between 1998 and 2023. Most recently he collaborated with acclaimed Irish writer/director Alan Gilsenan, to produce a loose trilogy of films about psychological trauma: Meetings with Ivor, The Meeting and The Days of Trees. The latter won the George Morrison Award for Best Documentary at the 2024 Irish Film and Television Awards. --- Interview Link: — Tomás' website - https://thedaysoftrees.com/

What a joy! We were delighted to be invited to the University of Warwick Film and Television Studies department for a conversation with James MacDowell about Eavesdropping at the Movies: how it began, why we do it, what we get out of it, how we make it. We hope you enjoy what was an enormously satisfying hour and a bit in which we had the privilege to discuss our practice of film criticism with an audience keen to ask questions. Thank you to James for chairing and to Julie Lobalzo Wright for inviting us. Recorded on 29th April 2025.

Queer television is clearly having a moment and I got to learn more about this from my new favourite LGBTQ TV expert: Hollis Griffin. From the problematic categorisation of ‘good' and ‘bad' representation to watching telly at the gay bar, we talk about what queer TV can and can't do and why it's so enjoyable even when it's bad.  Hollis shares expert knowledge, personal anecdotes and an amazing Lauren Berlant quote: “Nobody like their pleasure undone by somebody with a theory.”References:Gentrification Imaginaries ConferenceFreiburg UniversityMaria SulimmaHollis Griffin's Feeling Normal: Sexuality and Media Criticism in the Digital Age (Indiana, 2017) Hollis Griffin (ed) Television Studies in Queer Times (Routledge, 2023)Hollis Griffin's Securing the Big Apple: Television and the Gentrification of New York (forthcoming)Will and GraceLauren Berlant's Desire/LoveCael Keegan's “In Praise of the Bad Transgender Object: Sleepaway Camp” (2020)https://www.flowjournal.org/2020/07/in-praise-of-the-bad-sleepaway/Allison Page's Media and the Affective Life of Slavery (2022)Melrose PlaceAaron SpellingInterview with the Vampire IsaacFellman's Dead CollectionSusan StrykerThe Fathers Project Hunter Hargraves  Questions you should be able to respond to after listening:     What does representation mean? In how far it is a useful category?     What can ‘bad objects' teach us? Do you have an example?     What are places where one might watch queer TV and how do these places influence viewing behaviour?     Why is there pleasure in watching TV? Which shows do you enjoy?     Please look up at least one of the scholars that you learned about in this episode and find out more about their work.  

Rita Tushingham burst onto the film scene with her debut role in A Taste Of Honey and established herself as an iconic face of the British New Wave. Ian is joined by film historian Melanie Williams to review three of her early roles. A Taste Of Honey (1961). Directed by Tony Richardson. Written by Shelagh Delaney. Starring Rita Tushingham, Dora Bryan, Robert Stephens, Murray Melvin and Paul Danquah. Girl With Green Eyes (1964). Directed by Desmond Davis. Written by Edna O'Brien. Starring Rita Tushingham, Peter Finch and Lynn Redgrave. The Knack...and How To Get It (1965). Directed by Richard Lester. Written by Charles Wood from the play by Ann Jellicoe. Starring Rita Tushingham, Michael Crawford, Ray Brooks and Donal DonnellyMelanie Williams is Professor of Film and Television Studies at the University of East Anglia. A historian of British cinema, her recent books include a BFI Film Classic on A Taste of Honey (2023), Transformation and Tradition in 1960s British Cinema (with Richard Farmer, Laura Mayne and Duncan Petrie, 2019), and Female Stars of British Cinema: The Women in Question (2017). She is currently writing a book about the British filmmaker Muriel Box.

What makes a film a classic? In A Taste of Honey (Bloomsbury, 2023), published as part of the BFI Film Classics series, Melanie Williams, a Professor of Film and Television Studies in the School of Art, Media and American Studies at the University of East Anglia, tells the story of the films production and reception. The book explores the key themes of the film situating ideas of class, gender, race, and sexuality in both a historical context as well as thinking through the contemporary and continuing relevance of the film. Adding new insights to an overview of the existing critical responses, the book will be of interest across the arts and humanities, as well as for anyone interested in one of British cinema's most important films. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

What makes a film a classic? In A Taste of Honey (Bloomsbury, 2023), published as part of the BFI Film Classics series, Melanie Williams, a Professor of Film and Television Studies in the School of Art, Media and American Studies at the University of East Anglia, tells the story of the films production and reception. The book explores the key themes of the film situating ideas of class, gender, race, and sexuality in both a historical context as well as thinking through the contemporary and continuing relevance of the film. Adding new insights to an overview of the existing critical responses, the book will be of interest across the arts and humanities, as well as for anyone interested in one of British cinema's most important films. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

What makes a film a classic? In A Taste of Honey (Bloomsbury, 2023), published as part of the BFI Film Classics series, Melanie Williams, a Professor of Film and Television Studies in the School of Art, Media and American Studies at the University of East Anglia, tells the story of the films production and reception. The book explores the key themes of the film situating ideas of class, gender, race, and sexuality in both a historical context as well as thinking through the contemporary and continuing relevance of the film. Adding new insights to an overview of the existing critical responses, the book will be of interest across the arts and humanities, as well as for anyone interested in one of British cinema's most important films. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

What makes a film a classic? In A Taste of Honey (Bloomsbury, 2023), published as part of the BFI Film Classics series, Melanie Williams, a Professor of Film and Television Studies in the School of Art, Media and American Studies at the University of East Anglia, tells the story of the films production and reception. The book explores the key themes of the film situating ideas of class, gender, race, and sexuality in both a historical context as well as thinking through the contemporary and continuing relevance of the film. Adding new insights to an overview of the existing critical responses, the book will be of interest across the arts and humanities, as well as for anyone interested in one of British cinema's most important films. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

What makes a film a classic? In A Taste of Honey (Bloomsbury, 2023), published as part of the BFI Film Classics series, Melanie Williams, a Professor of Film and Television Studies in the School of Art, Media and American Studies at the University of East Anglia, tells the story of the films production and reception. The book explores the key themes of the film situating ideas of class, gender, race, and sexuality in both a historical context as well as thinking through the contemporary and continuing relevance of the film. Adding new insights to an overview of the existing critical responses, the book will be of interest across the arts and humanities, as well as for anyone interested in one of British cinema's most important films. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

Jorie Lagerwey, Associate Professor in Television Studies at UCD, joins Brendan to discuss the enduring appeal of Silence of the Lambs and how Airbnb are giving fans the chance to stay in Buffalo Bill's house.

Melanie Williams is Professor in Film and Television Studies at the University of East Anglia, UK. A specialist in British cinema, her publications in this area include British Women's Cinema (2009), Ealing Revisited (BFI, 2012), David Lean (2014), Female Stars of British Cinema: The Women in Question (2017) and Transformation and Tradition in 1960s British Cinema (2019).A Taste of Honey (1961) is a landmark in British cinema history. In this book, Melanie Williams explores the many, extraordinary ways in which it was trailblazing. It is the only film of the British New Wave canon to have been written by a woman – Shelagh Delaney, adapting her own groundbreaking stage play. At the behest of director Tony Richardson and his company, Woodfall, it was one of the first films to be made entirely on location, and was shot in an innovative, rough, poetic style by cinematographer Walter Lassally. It was also the launchpad for a new type of young female star in Rita Tushingham.Tushingham plays the young heroine, Jo, who finds she is pregnant after her love affair with Jimmy (Paul Danquah), a Black sailor. When Jimmy's ship sails away, Jo is comforted and supported by her gay friend Geoff (Murray Melvin), while her unreliable mother, Helen (Dora Bryan), has her own life to lead. Candid in its treatment of matters of gender, class, ethnicity, sexuality and motherhood, and highly distinctive in its evocation of place and landscape, A Taste of Honey marked the advent of new possibilities for the telling of working-class stories in British cinema. As such, its rich but complex legacy endures to this day.Support this show http://supporter.acast.com/writers-on-film. Hosted on Acast. See acast.com/privacy for more information.

Max Pearson presents a compilation of stories about the history of film and cinema from around the world, including the longest running film in Indian cinema, the man who lived in an airport for 18 years and the ambitious release of the orca from the movie, Free Willy. Plus, the real life escape from Alcatraz and the incredible story of Vietnamese movie star, Kieu Chinh. Contributors: Dr Ranita Chatterjee - Senior Lecturer in Film and Television Studies at the University of Exeter. Kajol - Indian actress. Kieu Chinh - Vietnamese actress. Andrew Donkin - Biographer of Mehran Karimi Nasseri. Jolene Babyak - Lived on Alcatraz Island. Dave Phillips - Founder of the Free Willy Keiko Foundation. (Photo: People queuing for DDLJ in Mumbai. Credit: Getty Images)

Guest: Laura Minor is a Lecturer in Television Studies at University of Salford and she wrote an article in The Conversation, ‘The ‘milf': a brief cultural history, from Mrs Robinson to Stifler's mom'.See omnystudio.com/listener for privacy information.

What's the episode about? In this episode, hear Professor Helen Wheatley discuss death in film and television, corpses, grief and loss on screen, the Gothic, assisted suicide on television, haunting on TV and cultural trauma, as well as death in children's television and live death on screen. Helen also discusses her extensive work with television archives and communities in Coventry, UK.  Who is Helen?  Helen Wheatley is Professor of Film and Television Studies and co-founder of the Centre for Television Histories at the University of Warwick. She was also Director of the Resonate Festival, the Warwick Institute for Engagement's year-long programme of events and activities for Coventry's City of Culture year. Helen works collaboratively with archives and curators to engage the public with the history of British broadcasting, and has been awarded multiple prizes for impact/community engagement for this work. Her most recent book, Spectacular Television: Exploring Televisual Pleasure (IB Tauris, 2016) won the BAFTSS Award for Monograph of the Year in 2017. Helen has research interests in various aspects of British television history, and has published work on popular genres in television drama in the UK, US, including the monograph Gothic Television (2006). She has an ongoing interest in issues of television history and historiography, the topic of her edited collections Re-viewing Television History: Critical Issues in Television Historiography (IB Tauris, 2007) and Television for Women: New Directions (Routledge, 2016, with Rachel Moseley and Helen Wood). She is currently completing the monograph Television/Death for Edinburgh University Press (2023). This looks at the representation of death, dying, grief and bereavement, and at the posthumous image on TV. How do I cite the episode in my research and reading lists? To cite this episode, you can use the following citation: Wheatley, H. (2023) Interview on The Death Studies Podcast hosted by Michael-Fox, B. and Visser, R. Published 1 March2023. Available at: www.thedeathstudiespodcast.com, DOI: 10.6084/m9.figshare.22189924 What next? Check out more episodes or find out more about the hosts! Got a question? Get in touch. --- Send in a voice message: https://podcasters.spotify.com/pod/show/thedeathstudiespodcast/message

For Episode 112, Chris and Alex are joined for this discussion of HBO's television series House of the Dragon (Ryan Condal & George R. R. Martin, 2021-) - the prequel to Game of Thrones (David Benioff & D. B. Weiss, 2011-2019) - by Professor Kim Akass, who is Professor of Radio, Television and Film at Rowan University, Glassboro. Kim is is one of the founding editors of the television journal Critical Studies in Television: The International Journal of Television Studies (SAGE), co-editor of the “Reading Contemporary Television Series” for I.B. Tauris, and managing editor of CSTonline. Listen as they work through world-building and storytelling within long-form televisual fantasy; the narrative function of the series' array of digital dragons and VFX imagery; why fantasy and animation lend themselves to sprawling franchises and extended mythologies; histories of unruly femininity and its (false?) equivalence with madness, anger, and rage; and the many ways in which House of the Dragon asks what it means to be at war with your own body. **Fantasy/Animation theme tune composed by Francisca Araujo**

The 2022 Fantasy/Animation Christmas special is here, with Chris and Alex well and truly ‘walking in the air' (!) for Episode 110 of the podcast as they wonder at the delights of The Snowman (Dianne Jackson, 1982), the 26-minute television special released on Channel 4 in the early 1980s and based on Raymond Briggs' picture book. Joining them for this tale of festive fantasy and to celebrate the film's 40th anniversary is Dr James Walters, who is Reader in Film and Television Studies in the Department of Film and Creative Writing at the University of Birmingham. James' work embraces film and television aesthetics, and he is the author of two monographs regularly cited on the podcast - Fantasy Film: A Critical Introduction (2011) and Alternative Worlds in Hollywood Cinema (2008) - among other recent work on television comedy and performance. Listen as they discuss the relationship between British and Hollywood fantasy cinema in the 1980s; the contribution of Channel 4 to the evolution of British television animation; depth, energy, movement, and sincerity in The Snowman's cosy construction of fantasy, and the spectators' ability to ‘take off' with its defining images of flight; childhood and the power of snow as an enchanting (if always fleeting) force; texture, detail, and stillness in Brigg's original drawings; divisions between interior/order and exterior/chaos; and the way that fantasy - like Christmas - can mean different things to different people. Oh, and there's a bit about David Bowie too. Happy holidays! **Fantasy/Animation theme tune composed by Francisca Araujo**

Dr. Jorie Lagerwey, Associate Professor in Television Studies, discusses Vanity Documentaries typified by the new Netflix documentary series about Harry & Meghan.

Driven by a passion to create narratives that inspire change, Toluwani Obayan has made tangible contributions to the creative space through writing, directing, and editing as seen in projects like her short film “Heart & Might” dedicated to fallen heroes, “This Lady Called Life” a 2020 film for which she received the Best of Nollywood 2020 Award for Best Screenplay, and an AMVCA nomination for Best Writer, and “Explore the World With Tindel” for which she and the team received the ITFF Africa 2019 award for Best African Film in the documentaries section. She has also found creative expression through her published academic article “Audience Perception of Nollywood's Recurrent Themes as Agents of Socio-cultural Development”, narrative articles such as “The Tale of a Disgruntled Pair of Nigerian Flip Flops” (a satirical protest against child abuse), and her book “Becoming a Spectacular Woman” (2017). She has a Bachelor's Degree in Mass Communications and a Masters Degree in Film and Television Studies. Tolunwani's Projects and Links: This Lady Called Life: Trailer https://www.youtube.com/watch?v=hGNGTHKbDmU  Ponzi: Trailer https://www.youtube.com/watch?v=b6G7HxlvPsg  Heart & Might: Short Film https://www.youtube.com/watch?v=VUsX54iKuH4&t=205s Green. White. Black: Short Still Photography Film https://www.youtube.com/watch?v=VUsX54iKuH4&t=205s  Book: Becoming a Spectacular Woman Company Name: Storystory Village (Social Enterprise) and Toluwani Obayan Works (Sole Proprietorship) Podcast Name: Once Upon a Dreamer (Anywhere you get your podcasts) Website: toluwaniobayan.com Social Media handles: @toluwaniobayan (Instagram and Twitter) Key Takeaways It's okay to change your direction and retry - Toluwani first pursued architecture but found herself not enjoying the science and mathematics elements of the field. The only aspect of architecture she enjoyed was the drawing element. Toluwani failed math and had to repeat the year, which gave her the chance to go down the path she really wanted: the arts. Toluwani found herself much more content in the arts and she began to excel in school. Mathematics, the subject she initially struggled with, became a subject she mastered and taught others on.  Getting your dream job takes time - Toluwani worked as an intern at a big production firm in Nigeria for two years where she edited films day in and day out. Toluwani was aware that her two years working as an intern wouldn't automatically grant her the chance to write a screenplay. She did this to get herself involved in the film industry and slowly worked her way up for 6 years to be able to partake in the directing and writing she dreamed of receiving recognition for it. Often, the path to where you want to be isn't linear. It takes time, consistency and effort.  Get to know the people around you - One of Toluwani's colleagues from her intern days went on to become a big name director in Nigeria. They had both worked as film editors which allowed them to get to know each other. From this connection, Toluwani was able to collaborate with him on several projects and break further into the industry. You never know where someone will end up or who they will become. Be kind and become acquainted with the people around you, regardless of your position or theirs.  Be selective with the things that matter - Toluwani learned to watch the trajectory of the people who want to work with her. Just because they paid her to write a script doesn't mean they'll turn it into a production. For a screenwriter's resume, scripts that have been made into productions carry far more weight and will be more impressive. Toluwani always considers when production will occur and how the product will be distributed before she signs onto a new project. Do what you love for you, not for others - The need for external validation is an internal weakness that can stunt the interest and passion we have for doing what we love. Toluwani has always wanted her screenwriting to help others but she realized she was relying too heavily on outside approval and had strayed from her initial purpose. It's okay if some people don't like your work. Don't shun failure- keep moving forward and practice to get better. Be ambitious and stay true to yourself.  SUBSCRIBE TO THE PODCAST HERE: APPLE PODCASTS GOOGLE PODCASTS SPOTIFY LIBSYN YOUTUBE   OKIKI RESOURCES: Need Video Content or Personal Brand Photos? Book Here Join the Okiki Video Content Bootcamp Today! https://www.okikiconsulting.com/okiki-video-bootcamp   ABOUT FIYIN: Fiyin Obayan is the founder of Okiki Consulting, where she helps business owners communicate their personal brand or company brand stories through video content, in order to communicate to their target audience. Contact Fiyin: Website: www.okikiconsulting.com Email: info@okikiconsulting.com Phone: (306)716-0324 Instagram: @Okikiconsulting and @Okikiconsultingmedia Facebook: @Okikiconsulting LinkedIn: https://www.linkedin.com/in/fiyinfoluwaobayan/ Business: https://www.linkedin.com/company/okiki

As HBO celebrates its 50th anniversary, Dr Jorie Lagerway, Associate Professor in Television Studies in UCD looks at what made the acclaimed network so successful, and some of its classic series.

Despite changes in the media landscape, film remains a vital force in contemporary culture, as do our ideas of what "a movie" or "the cinematic" are. Indeed, we might say that the category of film now only exists in theory. Whereas film-theoretical discussion at the turn of the 21st century was preoccupied, understandably, by digital technology's permeation of virtually all aspects of the film object, this volume moves the conversation away from a focus on film's materiality towards timely questions concerning the ethics, politics, and even aesthetics of thinking about the medium of cinema. To put it another way, The Oxford Handbook of Film Theory (Oxford UP, 2022), edited by Kyle Stevens, narrows in on the subject of film, not with a nostalgic sensibility, but with the recognition that what constitutes a film is historically contingent, in dialogue with the vicissitudes of entertainment, art, and empire. The volume is divided into six sections: Meta-Theory; Film Theory's Project of Emancipation; Apparatus and Perception; Audiovisuality; How Close is Close Reading?; and The Turn to Experience. Kyle Stevens is the author of Mike Nichols: Sex, Language, and the Reinvention of Psychological Realism. His work has appeared in Critical Inquiry, Cultural Critique, Journal of Cinema and Media Studies, Adaptation, Critical Quarterly, New Review of Film and Television Studies, World Picture, and several edited collections. He is Associate Professor of Film Studies at Appalachian State University. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Despite changes in the media landscape, film remains a vital force in contemporary culture, as do our ideas of what "a movie" or "the cinematic" are. Indeed, we might say that the category of film now only exists in theory. Whereas film-theoretical discussion at the turn of the 21st century was preoccupied, understandably, by digital technology's permeation of virtually all aspects of the film object, this volume moves the conversation away from a focus on film's materiality towards timely questions concerning the ethics, politics, and even aesthetics of thinking about the medium of cinema. To put it another way, The Oxford Handbook of Film Theory (Oxford UP, 2022), edited by Kyle Stevens, narrows in on the subject of film, not with a nostalgic sensibility, but with the recognition that what constitutes a film is historically contingent, in dialogue with the vicissitudes of entertainment, art, and empire. The volume is divided into six sections: Meta-Theory; Film Theory's Project of Emancipation; Apparatus and Perception; Audiovisuality; How Close is Close Reading?; and The Turn to Experience. Kyle Stevens is the author of Mike Nichols: Sex, Language, and the Reinvention of Psychological Realism. His work has appeared in Critical Inquiry, Cultural Critique, Journal of Cinema and Media Studies, Adaptation, Critical Quarterly, New Review of Film and Television Studies, World Picture, and several edited collections. He is Associate Professor of Film Studies at Appalachian State University. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Despite changes in the media landscape, film remains a vital force in contemporary culture, as do our ideas of what "a movie" or "the cinematic" are. Indeed, we might say that the category of film now only exists in theory. Whereas film-theoretical discussion at the turn of the 21st century was preoccupied, understandably, by digital technology's permeation of virtually all aspects of the film object, this volume moves the conversation away from a focus on film's materiality towards timely questions concerning the ethics, politics, and even aesthetics of thinking about the medium of cinema. To put it another way, The Oxford Handbook of Film Theory (Oxford UP, 2022), edited by Kyle Stevens, narrows in on the subject of film, not with a nostalgic sensibility, but with the recognition that what constitutes a film is historically contingent, in dialogue with the vicissitudes of entertainment, art, and empire. The volume is divided into six sections: Meta-Theory; Film Theory's Project of Emancipation; Apparatus and Perception; Audiovisuality; How Close is Close Reading?; and The Turn to Experience. Kyle Stevens is the author of Mike Nichols: Sex, Language, and the Reinvention of Psychological Realism. His work has appeared in Critical Inquiry, Cultural Critique, Journal of Cinema and Media Studies, Adaptation, Critical Quarterly, New Review of Film and Television Studies, World Picture, and several edited collections. He is Associate Professor of Film Studies at Appalachian State University. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Despite changes in the media landscape, film remains a vital force in contemporary culture, as do our ideas of what "a movie" or "the cinematic" are. Indeed, we might say that the category of film now only exists in theory. Whereas film-theoretical discussion at the turn of the 21st century was preoccupied, understandably, by digital technology's permeation of virtually all aspects of the film object, this volume moves the conversation away from a focus on film's materiality towards timely questions concerning the ethics, politics, and even aesthetics of thinking about the medium of cinema. To put it another way, The Oxford Handbook of Film Theory (Oxford UP, 2022), edited by Kyle Stevens, narrows in on the subject of film, not with a nostalgic sensibility, but with the recognition that what constitutes a film is historically contingent, in dialogue with the vicissitudes of entertainment, art, and empire. The volume is divided into six sections: Meta-Theory; Film Theory's Project of Emancipation; Apparatus and Perception; Audiovisuality; How Close is Close Reading?; and The Turn to Experience. Kyle Stevens is the author of Mike Nichols: Sex, Language, and the Reinvention of Psychological Realism. His work has appeared in Critical Inquiry, Cultural Critique, Journal of Cinema and Media Studies, Adaptation, Critical Quarterly, New Review of Film and Television Studies, World Picture, and several edited collections. He is Associate Professor of Film Studies at Appalachian State University. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Despite changes in the media landscape, film remains a vital force in contemporary culture, as do our ideas of what "a movie" or "the cinematic" are. Indeed, we might say that the category of film now only exists in theory. Whereas film-theoretical discussion at the turn of the 21st century was preoccupied, understandably, by digital technology's permeation of virtually all aspects of the film object, this volume moves the conversation away from a focus on film's materiality towards timely questions concerning the ethics, politics, and even aesthetics of thinking about the medium of cinema. To put it another way, The Oxford Handbook of Film Theory (Oxford UP, 2022), edited by Kyle Stevens, narrows in on the subject of film, not with a nostalgic sensibility, but with the recognition that what constitutes a film is historically contingent, in dialogue with the vicissitudes of entertainment, art, and empire. The volume is divided into six sections: Meta-Theory; Film Theory's Project of Emancipation; Apparatus and Perception; Audiovisuality; How Close is Close Reading?; and The Turn to Experience. Kyle Stevens is the author of Mike Nichols: Sex, Language, and the Reinvention of Psychological Realism. His work has appeared in Critical Inquiry, Cultural Critique, Journal of Cinema and Media Studies, Adaptation, Critical Quarterly, New Review of Film and Television Studies, World Picture, and several edited collections. He is Associate Professor of Film Studies at Appalachian State University. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Despite changes in the media landscape, film remains a vital force in contemporary culture, as do our ideas of what "a movie" or "the cinematic" are. Indeed, we might say that the category of film now only exists in theory. Whereas film-theoretical discussion at the turn of the 21st century was preoccupied, understandably, by digital technology's permeation of virtually all aspects of the film object, this volume moves the conversation away from a focus on film's materiality towards timely questions concerning the ethics, politics, and even aesthetics of thinking about the medium of cinema. To put it another way, The Oxford Handbook of Film Theory (Oxford UP, 2022), edited by Kyle Stevens, narrows in on the subject of film, not with a nostalgic sensibility, but with the recognition that what constitutes a film is historically contingent, in dialogue with the vicissitudes of entertainment, art, and empire. The volume is divided into six sections: Meta-Theory; Film Theory's Project of Emancipation; Apparatus and Perception; Audiovisuality; How Close is Close Reading?; and The Turn to Experience. Kyle Stevens is the author of Mike Nichols: Sex, Language, and the Reinvention of Psychological Realism. His work has appeared in Critical Inquiry, Cultural Critique, Journal of Cinema and Media Studies, Adaptation, Critical Quarterly, New Review of Film and Television Studies, World Picture, and several edited collections. He is Associate Professor of Film Studies at Appalachian State University. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University. His Twitter handle is @JoelTscherne.

Peter Gorschlüter, director of Museum Folkwang in Essen since 2018, is one of the youngest museum directors in Germany. Peter talks his early, formative years, growing up in a household with an affinity for culture. He talks his almost becoming a gallerist and how unexpectedly then the course was set to pursue a career as curator - and later director - of art institutions. He talks in depth about his working in different international art institutions through the years with a focus on developing an approach for Museum Folkwang that honors the history of the museum, as well as opens up new ways in corresponding with the time and the needs of the people. The demuseumization of the museum is an essential question for him and he would like to transfer the Folkwang (= hall of the people) vision of the museum founder Karl Ernst Osthaus into our times, thinking across genres and and epochs. Therefore he considers participation, transparency and putting people in the center of attention to be very important tasks. He sees himself not only as museum manager, but also as someone who intitiates content impulses. Peter studied Theater, Film and Television Studies, also German Studies and Philosophy in Cologne. He started organizing exhibitions early on, worked at a gallery for contemporary art and then was invited to the post of curator and research assistant at the Kunsthalle Düsseldorf. He spent some important years being chief curator of Tate Liverpool where he headed the Collection and Exhibitions Department. In 2010 he was co-curator of the Liverpool Biennial. After that he was appointed as deputy director of the Museum für Moderne Kunst MMK in Frankfurt a.M. from 2010 to 2018. Since 2018 he works as director of the internationally acclaimed Museum Folkwang in Essen. In 2021 Peter was awarded an honorary professorship for "Art and the Public" at the Folkwang University of the Arts. 35 min., recorded Sep. 19, 2022, language english. Photo credit: Peter Gorschlüter, Direktor Museum Folkwang, Foto: Tanja Lamers ( BILD IM AUSSTELLUNGSKONTEXT) Shownotes (mostly german): https://www.museum-folkwang.de/en https://www.deutschlandfunkkultur.de/peter-gorschlueter-neuer-chef-des-folkwang-ein-museum-fuer-100.html https://polis-magazin.com/2022/08/prof-peter-gorschlueter-besser-in-essen/ https://www1.wdr.de/mediathek/audio/wdr3/wdr3-mosaik/audio--jahre-folkwang---musemsdirektor-ueber-jubilaeumsausstellung-100.html https://soundcloud.com/sparkasse-essen/zuhause-in-essen-8-peter-gorschluter https://vanhornshowroom.com/viewingroom/podcast/ #VoicesOnArt #VanHornGallery #Podcast #PeterGorschlueter #MuseumFolkwang #Art #Talk #Storytelling

This week Maureen Taylor, The Photo Detective, is joined by author, genealogist, and educator Nathan Dylan Goodwin. Nathan and Maureen discuss how writing, genealogy, and historical fiction intersect, and what it means to write for each. His successful Forensic Genealogist series features a mystery-solving genealogist Morton Farrier who applies genealogical research techniques to crimes.Related Episodes:Episode 176: Ancestor Trouble with author Maud NewtonEpisode 94: Dead Still: Postmortem Photography and Crime Fiction on Acorn TVLinks:Nathan Dylan GoodwinSign up for my newsletter.Watch my YouTube Channel.Like the Photo Detective Facebook Page so you get notified of my Facebook Live videos.Need help organizing your photos? Check out the Essential Photo Organizing Video Course.Need help identifying family photos? Check out the Identifying Family Photographs Online Course.Have a photo you need help identifying? Sign up for photo consultation.About My Guest:Nathan Dylan Goodwin is a writer, genealogist, and educator. He was born and raised in Hastings, East Sussex. Schooled in the town, he then completed a Bachelor of Arts degree in Radio, Film, and Television Studies, followed by a Master of Arts degree in Creative Writing at Canterbury Christ Church University. A member of the Society of Authors, he has completed a number of local history books about Hastings, as well as several works of fiction, including the acclaimed Forensic Genealogist series, and Mrs. McDougall Investigates and Venator Cold Case series.About Maureen Taylor:Maureen is a frequent keynote speaker on photo identification, photograph preservation, and family history at historical and genealogical societies, museums, conferences, libraries, and other organizations across the U.S., London, and Canada.  She's the author of several books and hundreds of articles and her television appearances include The View and The Today Show (where she researched and presented a complete family tree for host Meredith Vieira).  She's been featured in The Wall Street Journal, Better Homes and Gardens, The Boston Globe, Martha Stewart Living, Germany's top newspaper Der Spiegel, American Spirit, and The New York Times. Maureen was recently a spokesperson and photograph expert for MyHeritage.com, an internationally known family history website, and also writes guidebooks, scholarly articles, and online columns for such media as Smithsonian.com. Learn more at I wanted to remind you all that I run one-on-one Photo Consultations, that help identify photo clues that you may have missed, in order to help you better understand your family history. Not many people realize that the saying is true - and that a photo can tell a million stories. All sessions are recorded, and there's a discount for bulk image sessions. Find out more on my website at https://maureentaylor.com. Support the show

Helen Meany Helen Meany has been to see An Octoroon. Dr Jorie Lagerway, Associate Professor in Television Studies in UCD takes a look at the legacy of Lena Dunham's Girls and Paul McLoone and Zara Hedderman discuss new music releases by Bloc Party, Sive and Let's Eat Grandma.

About the guestSandra L. Gibson's arts and culture training, teaching and practice over three decades have given her a unique understanding of partnership, creativity and collaboration. Gibson's professional experience began with her role as program representative for UCLA Extension's Department of the Arts, where she developed and managed 180-200 nationally recognized programs annually. Gibson later became Director, West Coast Operations at American Film Institute, where she also served Director, NEA's Independent Filmmaker Program and Director, Center for Advanced Film and Television Studies. Gibson's work as the executive director of the Long Beach Regional Arts Council in California developed her gifts for working with diverse cultural communities, individual artists and patrons of arts and culture. Gibson directed the city's first Cultural Masterplan and launched the first Smithsonian Institution Program Affiliation in the US with the City of Long Beach. In 1995 Gibson served on the steering committee that formed Americans for the Arts and as a founding board member, and was recruited for the position of executive vice president and COO at the organization in 1998. In 2000, she was appointed the fourth president and CEO of the Association of Performing Arts Presenters, the leading service and advocacy organization for the presenting industry worldwide. Gibson realized the need for a more comprehensive assessment of the performing arts in the context of a rapidly changing world and partnered with the Doris Duke Charitable Foundation to sponsor the first nationwide survey of the performing arts presenting field. Gibson engaged the association in new technologies and expanded its reach globally and across industry sectors, including partnerships with the leadership of Consejo Nacional de la Cultura y las Artes in Mexico; the French Embassy Cultural Services Division; the Netherlands Consulate and the Cultural Ministry of Colombia, among others. Gibson served as a Commissioner on the Culture Committee of the U.S. National Commission for UNESCO from 2005-2009 and testified with cellist Yo-Yo Ma about the challenges with nonimmigrant visa processing before the House of Representatives Government Reform Committee in 2005. Gibson served on NEA's Music Creativity panel in July 2002, the Regional Partnership Agreements panel in February 2006, the State Partnerships Agreements panel in January 2009, and State Partnerships Stimulus funding panel in March 2009. In 2004 Gibson launched the Creative Campus Initiative with a landmark meeting of the American Assembly at Columbia University, and in 2007 established the Creative Campus Innovations Grant Program to support exemplary cross-campus, interdisciplinary projects that integrate the arts into the academy. Gibson also led the development of an eco-leadership forum that advances the goals and action agenda of Culture|Futures, an international collaboration of organizations and individuals in the nonprofit, for-profit, philanthropic, economic development, political and policy arenas who are shaping and delivering proactive support for the transition towards an Ecological Age by 2050.Gibson became an independent consultant in July 2011 and in 2012 formed Sandra L. Gibson and Associates, LLC, a consulting practice dedicated to advancing the arts, culture and education globally. Gibson serves as Executive Director of the Maryland Film Festival/Stavros Niarchos Foundation Parkway Theatre in Baltimore, Maryland, as a Consulting Advisor to the DeVos Institute for Arts Leadership founded by Michael Kaiser at the University of Maryland, and as a Consulting Advisor to The Canales Project founded by opera singer Carla Dirlikov. From 2012-2018 Gibson served as the first executive director of the National China Garden Foundation in Washington, DC, overseeing the development, fundraising and construction design for a priority U.S.-China government initiative to establish the National China Garden, a 12-acre classical Chinese garden center in the historic U.S. National Arboretum. She has served as a consultant to the Reginald F. Lewis Museum of African American History and Culture, Northwoods Nijii Enterprise Corporation, Theatre Forward, and as an advisor to the Smithsonian Center for Folklife and Cultural Heritage, as a consultant to the Smithsonian Office of the Assistant Secretary for Education and Access, and the National Museum of American History, as well as a Senior Artistic Advisor to the China International Performing Arts Fair, Guangzhou, China. Currently Gibson serves as President and Chair, Friends of the British Council, Board Member and Chair of the Artistic Committee of the Sphinx Organization, and as Vice Chair of the National Advisory board for Smithsonian Folkways Recordings. An ethnomusicologist and musician with a Master's Degree in Music from Northwestern University, Gibson believes the arts are critical to personal, community and national well being, essential to an advanced democracy and vital to global cultural exchanges. She has worked tirelessly to raise dynamic conversations about the intrinsic value and impact of art and art making, their contributions to a high-quality education, to economic livelihood and to a historic legacy woven intricately into the very fabric of life.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture.Mentioned in this episodeSNF ParkwayPhotography by Mike MorganTo find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory.Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode★ Support this podcast ★

How should we understand the role of television in everyday life? In On Living with Television (Duke UP, 2021), Amy Holdsworth, a Senior Lecturer in Theatre, Film & Television Studies at the University of Glasgow uses an autobiographical and autoethnographic approach to understand an object that has ‘always been there' in many people's lives. The book combines analysis of programmes, including In the night garden, Man vs food and Last Tango in Halifax, with rich theoretical reflections from television studies, cultural studies, and beyond. Exploring ideas of time, home, and care, the book will be essential reading across the humanities, as well as for anyone watching television! Dave O'Brien is Chancellor's Fellow, Cultural and Creative Industries, at the University of Edinburgh's College of Art. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

How should we understand the role of television in everyday life? In On Living with Television (Duke UP, 2021), Amy Holdsworth, a Senior Lecturer in Theatre, Film & Television Studies at the University of Glasgow uses an autobiographical and autoethnographic approach to understand an object that has ‘always been there' in many people's lives. The book combines analysis of programmes, including In the night garden, Man vs food and Last Tango in Halifax, with rich theoretical reflections from television studies, cultural studies, and beyond. Exploring ideas of time, home, and care, the book will be essential reading across the humanities, as well as for anyone watching television! Dave O'Brien is Chancellor's Fellow, Cultural and Creative Industries, at the University of Edinburgh's College of Art. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

How should we understand the role of television in everyday life? In On Living with Television (Duke UP, 2021), Amy Holdsworth, a Senior Lecturer in Theatre, Film & Television Studies at the University of Glasgow uses an autobiographical and autoethnographic approach to understand an object that has ‘always been there' in many people's lives. The book combines analysis of programmes, including In the night garden, Man vs food and Last Tango in Halifax, with rich theoretical reflections from television studies, cultural studies, and beyond. Exploring ideas of time, home, and care, the book will be essential reading across the humanities, as well as for anyone watching television! Dave O'Brien is Chancellor's Fellow, Cultural and Creative Industries, at the University of Edinburgh's College of Art. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

How should we understand the role of television in everyday life? In On Living with Television (Duke UP, 2021), Amy Holdsworth, a Senior Lecturer in Theatre, Film & Television Studies at the University of Glasgow uses an autobiographical and autoethnographic approach to understand an object that has ‘always been there' in many people's lives. The book combines analysis of programmes, including In the night garden, Man vs food and Last Tango in Halifax, with rich theoretical reflections from television studies, cultural studies, and beyond. Exploring ideas of time, home, and care, the book will be essential reading across the humanities, as well as for anyone watching television! Dave O'Brien is Chancellor's Fellow, Cultural and Creative Industries, at the University of Edinburgh's College of Art. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

How should we understand the role of television in everyday life? In On Living with Television (Duke UP, 2021), Amy Holdsworth, a Senior Lecturer in Theatre, Film & Television Studies at the University of Glasgow uses an autobiographical and autoethnographic approach to understand an object that has ‘always been there' in many people's lives. The book combines analysis of programmes, including In the night garden, Man vs food and Last Tango in Halifax, with rich theoretical reflections from television studies, cultural studies, and beyond. Exploring ideas of time, home, and care, the book will be essential reading across the humanities, as well as for anyone watching television! Dave O'Brien is Chancellor's Fellow, Cultural and Creative Industries, at the University of Edinburgh's College of Art. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

How should we understand the role of television in everyday life? In On Living with Television (Duke UP, 2021), Amy Holdsworth, a Senior Lecturer in Theatre, Film & Television Studies at the University of Glasgow uses an autobiographical and autoethnographic approach to understand an object that has ‘always been there' in many people's lives. The book combines analysis of programmes, including In the night garden, Man vs food and Last Tango in Halifax, with rich theoretical reflections from television studies, cultural studies, and beyond. Exploring ideas of time, home, and care, the book will be essential reading across the humanities, as well as for anyone watching television! Dave O'Brien is Chancellor's Fellow, Cultural and Creative Industries, at the University of Edinburgh's College of Art. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Welcome to episode 056 of Choose Film: A Reel Retrospective podcast. We are just a duo of podcasters.... recording an episode....  asking you to listen"We are onto a new season "DATE NIGHT"!!!!Rebecca and Gary are joined by Filmbusters Film Critic Ben Murray to discuss the delightfully heartwarming Notting Hill. SynopsisWilliam Thacker (Hugh Grant) is a London bookstore owner whose humdrum existence is thrown into romantic turmoil when famous American actress Anna Scott (Julia Roberts) appears in his shop. A chance encounter over spilled orange juice leads to a kiss that blossoms into a full-blown affair. As the average bloke and glamorous movie star draw closer and closer together, they struggle to reconcile their radically different lifestyles in the name of love.Links in conversationTwitter - @filmbustersbenTwitter - @FilmBustersPodhttps://www.filmbusterspod.co.ukInsta - @filmbusterspodCreative recommendationShort film - Lie detectorhttps://www.youtube.com/watch?v=CjVVNuraly8The Other Side of Darkness: A Seinfeld Parody Podcasthttps://podcasts.apple.com/ca/podcast/the-other-side-of-darkness-a-seinfeld-parody-podcast/id1570447488Debating Dating: Podcasthttps://twitter.com/debatingdatinghttps://podcasts.apple.com/gb/podcast/debating-dating/id1550468265Ben's BioBen is a BA Film & Television Studies graduate who has spent the past decade or so directing short films. His influences range from David Lynch to David Mamet (all the David's!). When he's not behind the camera you can find him co-hosting the FilmBusters podcast (now in its fifth year) or on the film festival circuit providing press coverage.

Kyung Hyun Kim talks about the Netflix series Squid Game, its economic and political contexts, and its cultural potential. He also talks about his new book, Hegemonic Mimicry, out from Duke University Press. Prof. Kyung Hyun Kim is a creative writer, a scholar, and a film producer, who is currently a professor in the Department […]

The study of television covers a wide range of different processes from production, technologies of broadcast and circulation, to audience experience and involvement. There is no doubt that the streaming platforms and portals of recent years have had and continue to have a profound impact on the patterns of consumption of televisual media content. How much things have changed is always a contested point of view as media adjust and change in all sorts of significant ways. Myself and Professor Annette Hill discusses the state of television studies today and the impact of technological changes on audiences. https://portal.research.lu.se/en/persons/annette-hill https://www.routledge.com/Between-Habit-and-Thought-in-New-TV-Serial-Drama-Serial-Connections/Lynch/p/book/9780367186937

On this episode of The James Bond A-Z Podcast hosts Tom Butler, Brendan Duffy, and Tom Wheatley are joined by Melanie Williams, Professor of Film and Television Studies, at the University of East Anglia to talk about 'Dr No'. The author of 'From Blofeld to Moneypenny: Gender in James Bond' joins the podcast to talk about the life and work of 'Dr No' co-writer Joanna Harwood. Melanie shares insight into the aspirations of Joanna Harwood, and how she became involved with Harry Saltzman, 'Dr No' and 'From Russia With Love'. We learn how much of Joanna's drafts of the story made it to screen, and the attempts to write her out of the history of the Bond films. We discuss the difficulties faced by women in the film industry, particularly around getting credit where credit's due, and how Joanna's experiences with Bond soured her filmmaking career. We also explore Roger Moore's attempts at getting recognition for Joanna later in life, and how much she eschewed the series later in life. Follow Melanie on Twitter: twitter.com/BritFilmMelanie James Bond will return... in next week's James Bond's A-Z Podcast. Find us on Twitter: twitter.com/jamesbondatoz Find us on Instagram: instagram.com/jamesbondatoz Email us on: podcast@jamesbondatoz.co.uk Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Today's show features a conversation with Ian Garwood, senior lecturer in Film & Television Studies at the University of Glasgow, and one of the leading practitioners of the academic audiovisual essay. We discuss Ian's background, his creative process, Cary Grant, the role of voiceover in AV criticism, and his award-winning audiovisual monograph, Indy Vinyl: Records in American Independent Cinema: 1987 to 2019. Will and Ian also discuss "My Mulholland," a video essay by Jessica McGoff. Support the podcast on Patreon. Follow the show on Twitter. Learn more at the pod's website. Get the free newsletter, Notes on Videographic Criticism.

America's children and teenagers spend tremendous amount of time on the internet and never more than during the Coronavirus pandemic, with families at home so much, people ordered food, got news and engaged with family and friends online. Youngsters whose schools closed, relied on YouTube for educational videos, attended virtual classes on Zoom and to Google Classroom and flocked to TikTok, Snapchat and Instagram for entertainment and social interaction. This cost of digital immersion has a serious health downside however, because the nation's youth have been exposed to a steady flow of marketing for fast foods, soft drinks, and other unhealthy products. Today we'll be discussing a new report from the Center For Digital Democracy entitled, "Big Food, Big Tech, and the Global Childhood Obesity Pandemic."     Interview Summary   Our guests today are Jeff Chester, Executive Director of the Center for Digital Democracy and Senior Strategist Kathryn Montgomery, both are dogged and their work on this topic and in my mind are true pioneers.   So Jeff let's begin with you, before we dig into the nuts and bolts of the report could you explain to our listeners the role that data play in online food and beverage marketing? What kinds of data are the companies collecting and how?   Well today you no longer can separate marketing and advertising from data, data collection, data analytics, and data use, whether you're online doing any of the activities you just mentioned that kids were doing during the pandemic, where you go to the grocery store and use your loyalty card, go to the gas station, even pass a billboard, data about you is increasingly being collected, everything you do, everywhere you go, and not only you, what your family does and what your friends do and what your community does. All that is now collected and harvested. So personalized advertising can be delivered to you regardless of where you are and what you're doing. And food and beverage companies have been in the forefront taking advantage of all this data to push very unhealthy food marketing to children and teens.   So Jeff you painted this picture of a lot of data being collected of a lot of people and so I'm assuming this applies to children as well as teenagers when they're visiting the internet - that their data are being harvested and that gets used to market things specifically to them. So is that correct?   It works in a number of ways, even though there is a children's privacy law that supposedly limits the amount of data that can be collected on children under 13. In fact, companies collect huge amounts of data, they violate the law on children, and certainly teens are easily accessible by the data companies, but it's not just personal data, it's data about their families. So for example, the companies now know what mom and dad buy at the grocery store or the commercials even that the kids watch at home for example, when they're viewing streaming video or just regular television, so all that data is compiled. Let's talk about family data in addition to personal children's data, that's used to target advertising to them. What's important in the report is that today the food and beverage companies have become kind of Google's and Facebook's, the food and beverage companies are now leading data companies as well, which illustrates how much they value and understand the role that data plays in targeting audiences today, not just the United States, but throughout the world.   It's a very concerning picture, especially given that there is a law meant to protect this population that's being violated. So we'll come back a little bit later and talk about what might be done, but Kathy, how has the COVID-19 pandemic impacted the way children and teens are being exposed to this food and beverage advertised in the digital world?   First of all, we know that children are already online in huge numbers, and that they're living their lives in this digital environment, they're conducting their friendships, they're interacting with people all over the world, using their mobile phones constantly, they are already in this digital ecosystem, as the industry likes to call it, 24/7. With the pandemic that was intensified, these young people were in greater numbers for a multiplicity of purposes. So they were perfect targets. They were in the crosshairs of the food industry and the tech industry constantly. And particularly for black and brown kids, this raises a lot of serious issues. And we also see some important intersections between the COVID-19 pandemic and the obesity pandemic, which is really one reason why we wrote this report. We wanted to have people understand how these two global pandemics are connected and that many of the young people who have been most at risk for COVID-19 have been those who suffer from childhood obesity and the related illnesses to that condition like diabetes, etc. These young people suffered from COVID and were more inclined to be very sick and sometimes die from it in greater numbers than other young people. And then at the same time, we have this huge pandemic of obesity that unfortunately in the US has fallen off of the public radar. That's another reason why we wanted to raise this issue and let people know about it. But in terms of black and brown youth, they are really in the cross hairs of the food industry. They are more avid users of digital media, they're on the gaming platforms in greater numbers, they're fully immersed and they're trendsetters for other young people. And the food companies have enlisted some of the icons of pop culture from these communities to promote some of the unhealthiest food you can imagine from fast food to sugar sweetened beverages and to do it through games, mobile technologies, every possible digital venue.   Let's talk just a little bit more about that if you wouldn't mind Kathy. So one might think that on the internet kids are just gonna be seeing the ads that they would have seen if they were watching TV, it would be similar things, they'd be seeing the sugar beverage company advertising its products with some athlete or some music celebrity or something, but you're painting a picture that's a little more serious than that. There are clever things that are done, it comes in different forms on the internet that can be especially hard to note as advertising, tell us a little bit more about that.   Kathryn - For a lot of people who as you say might have an understanding of commercials on television which we all can see and we can all get outraged about, but it doesn't work that way on the internet. The brands are really woven intricately into the inner relationships that young people have with digital culture. In gaming for example, you see brands woven into the so-called game play. It's done in a way that is personalized to each game player. They can crop up in the middle of a particular part of the game, they can be offered as rewards or ways to enhance your character's ability to fight a battle for example, or in some cases like with one of the Wendy's campaigns, they've created entire games based on character, so that's one example. And the other thing is that there's a lot of influencer marketing in this environment where influencers on social media will promote our brand to all their followers. And it doesn't look like advertising. It looks like recommendations, and it may be even more subtle than that.   Jeff - And unlike the commercials that many of us have grown up with, digital advertising is different, first place it learns about you. It learns what you like, what you do, how you respond, and it's able to change increasingly in real time. So for example, an ad or marketing message that you might view on your mobile phone is going to look different. It's going to be enhanced, adapted in some way. When you see the same ad, when you're on a gaming platform or a streaming video platform, these ads are increasingly personalized. And the ability to constantly track you wherever you go and use that data to create very relevant, engaging real-time advertising, which of course has been tested, measuring whether or not it triggers your unconscious and emotional spheres is one of the reasons why this powerful medium needs to be regulated.   So Jeff, the issue of marketing targeted this specific groups came up earlier, does that happen in this context?   Digital advertising works on an individual basis, on a group basis, the ability to leverage all the data that's collected today, and the fact that we live our lives in the pandemic enhanced that, on these digital platforms, enables the advertisers and marketers to create vast numbers of targeting categories. And also to understand that even if you don't buy, let's say junk food product X, that because of the habits of others who may have the same interest as you, but who do buy a junk product X, you're a potential target. And then they can then focus on you, even if you've never shown any interest in this particular food product. So there's just a growing number of ways to leverage data, to push unhealthy products, to young people that we've ever witnessed.   So I'm imagining that both the sheer amount of such marketing is of great concern, but also the fact that it's so precisely targeted and data are being used so effectively in this context probably gives the company as much more punch for every dollar they spend or every minute they have of your attention. So this is especially concerning. So Kathryn, what can be done to limit children's exposure to this type of marketing in the online world. And does the report make any specific recommendations in this regard?   We made a number of recommendations and we were so disheartened when we started this research that so little had been done recently, this was an issue that was discussed much more publicly. And a lot of us were involved in these efforts, not that many years ago where the concern about childhood obesity was really on the public agenda and companies were under some pressure to report to the Federal Trade Commission, for example, on how they were spending money to advertise to young people, and that has not happened in recent years. Interestingly, a lot of that has happened overseas. So in the EU countries, in the EU, generally in the UK and Latin America, there are stronger rules. And this issue is very much on the agenda. These are also global companies. So one of the things we've done in this report is to inform people about what's going on globally and to see how we need to look at U.S. policy in the context of global trends and the rising concerns in other countries about this issue. We have a long list of things that we recommend to policymakers and to companies. We think that the tech companies, for example, have some responsibilities and they've not stepped up to the plate on these issues. They play a major role here in the way they set up systems to facilitate and enhance this kind of marketing in the same way they did with the election. And what we learned from controversies over the Cambridge Analytica scandal, for example, so companies can do things to restrict what marketers can do on their site. So for example, we're very concerned that we need to do more to protect adolescents. They're very vulnerable to this kind of marketing. They're very much influenced by their peers. They have other kinds of vulnerabilities that make them particularly susceptible to the techniques that are used by digital marketers. We also believe that we need to look very closely at setting some clear standardized guidelines for what unhealthy food and beverages are. And I'll tell you everything we found in our report was unhealthy, whether it's the soft drinks or the French fries or the candies or the energy drinks that are commonly promoted aggressively on gaming platforms for example, we need to have clear guidelines about what can and can't be promoted. And we also need to focus on brands because if you restrict a certain product, but you don't restrict the brand, research has shown this causes young people to increase their consumption of unhealthy food. We list a whole bunch of techniques that are unfair and manipulative that needs to be addressed, particularly targeting black and brown youth. There needs to be a really clear focus on ensuring that is stopped.   So I'd like to ask Jeff in just a moment about some more of the policy implications for this and what might be feasible and effective in the context of what government can do. But Kathy, let me ask you one additional question. I know the food industry has for a number of years said, government doesn't need to regulate us because we'll regulate ourselves and they set up the children's food and beverage advertising initiative, which was an industry sponsored organization that was supposed to protect children from the marketing of unhealthy food, what happened to that? And why isn't that enough?   Kathryn - First of all they made sure that they only set up self-regulatory guidelines that applied to children under 12, not even 12 and under. So they've done nothing about adolescents at all. And they've been adamant about not wanting to do anything in terms of protecting adolescents. Most of the provisions focus on television, a few deal with digital, but not in a really adequate way. And generally what we see is there's no enforcement, there's no oversight. So you look at the techniques, you'll see that really these marketers are getting away with murder.   Jeff - And that's why the public health community and people who are concerned about public health and especially obesity need to start focusing on the food and beverage companies, as well as the platforms like Google and Facebook and take that snapshot because they are responsible for unleashing all these techniques, which we catalog. And until the industry feels the pressure, hopefully from regulators, these self-regulatory regimes will not in fact respond. What we found is not a secret. This is all known. And yet the people who were supposed to protect our nation's youth from this unhealthy group marketing simply have their heads purposely stuck in the digital sand.   So Jeff, are you any more optimistic that the social media platforms will have more effective self-regulation than the food companies do?   We're moving to a period of regulation, I think that the days of self-regulation are over, we have an unprecedented opportunity with the Federal Trade Commission now. President Biden has appointed someone who might be the most progressive champion of consumers and children and public health that we've had in decades. Her name is Lina Khan from Columbia University. She just took over a few weeks ago and we're seeing really a major overhaul. Now the Federal Trade Commission, which has the power to examine the data practices and the marketing practices, especially when it comes to the children and young people. We have a real opportunity to have the FTC act In this regard, in Congress, there is bipartisan interest to strengthen the rules that protect both young people and teens from a number of these data collection practices, which would have a direct impact on the ability of the companies to advertise and market junk food to them. And we're very helpful, right now we're on a path to try to reign in the power of big food and big tech, but it's certainly going to be an uphill battle. Too few people understand that the battlefield to protect young people's health in terms of obesity is really online.   It's nice to hear your optimism, that the FTC is one possible avenue for change. Are there other policy routes that might be effective? For example, can the states do anything on this level?   You are absolutely correct Kelly that the state attorney generals are taking a leading position in trying to break up Facebook and Google and Amazon really can and should play a role. The state of Ohio attorney general, a Republican has proposed that Google in essence, be declared a public utility, which would allow all kinds of regulation in state to protect the consumers, to protect the public. So, yes, there's also opportunities at the state level and even perhaps at the municipal level, in terms of the regulation of broadband, for example, or wireless communications, question is, is there enough capacity and interest and frankly support within the public health advocacy and professional scholarly community to start doing some of these things, because there's really just only a tiny handful of organizations working on this. And it's still frankly, very under appreciated.   Bios: Jeff Chester is Executive Director of the Center for Digital Democracy (CDD), a Washington, DC non-profit organization. CDD is one of the leading U.S. NGOs advocating for citizens, consumers and other stakeholders on digital privacy and consumer protections online. Founded in 1991, CDD (then known as the Center for Media Education) led the campaign for the enactment of the Children's Online Privacy Protection Act (COPPA, 1998). During the 1990s it also played a prominent role in such issues as open access/network neutrality, diversity of media ownership, public interest policies for children and television, as well the development of the FCC's “E-Rate” funding to ensure that schools and libraries had the resources to offer Internet services. A former investigative reporter, filmmaker and Jungian-oriented psychotherapist, Jeff Chester received his M.S.W. in Community Mental Health from U.C. Berkeley.   Kathryn Montgomery is Professor Emerita in the School of Communication at American University, where she founded and directed the 3-year interdisciplinary PhD program in Communication.  She is also Senior Strategist for the Center for Digital Democracy (CDD). Montgomery's research, writing, and testimony have helped frame the national public policy debate on a range of critical media issues.  In the 90s, she spearheaded the campaign that led to passage of the U.S. Children's Online Privacy Protection Act (COPPA). She is author of two books: Target: Prime Time – Advocacy Groups and the Struggle over Entertainment Television (Oxford University Press, 1989); and Generation Digital: Politics, Commerce, and Childhood in the Age of the Internet (MIT Press, 2007). Montgomery's current research focuses on major technology, economic, and policy trends shaping the future of digital media in the Big Data era.  Her recent work includes numerous reports and articles on digital food marketing, children's privacy, health wearables, and political microtargeting. She earned a PhD in Film and Television Studies from the University of California, Los Angeles.

«The Good Fight», «The Handmaid's Tale», «House of Cards», «Homeland», «The West Wing» κ.α. Ο αριθμός τηλεοπτικών σειρών με φόντο την αμερικανική και διεθνή πολιτική που έχουμε παρακολουθήσει εδώ και αρκετές δεκαετίες, είναι μεγάλος. Σε αυτό το επεισόδιο του Podcast Gaslight η Αλεξάνδρα Σκαράκη συζητά με την αναπληρώτρια καθηγήτρια στην Ιστορία & Θεωρία Κινηματογράφου & Τηλεόρασης του Τμήματος Κινηματογράφου του Αριστοτελείου Πανεπιστημίου Θεσσαλονίκης η οποία είναι και αντιπρόεδρος του μεταπτυχιακού προγράμματος «Film and Television Studies» Μπέττυ Κακλαμανίδου για αυτού του είδους τις σειρές, τις ιστορίες που παρουσιάζουν και πώς αυτές προσλαμβάνονται από τους θεατές.

«The Good Fight», «The Handmaid'sTale», «House of Cards», «Homeland», «The West Wing» κ.α. Ο αριθμός τηλεοπτικών σειρών με φόντο την αμερικανική και διεθνή που έχουμε παρακολουθήσει εδώ και αρκετές δεκαετίες, είναι μεγάλος. Σε αυτό το επεισόδιο του Podcast Gaslight η Αλεξάνδρα Σκαράκη συζητά με την αναπληρώτρια καθηγήτρια στην Ιστορία & Θεωρία Κινηματογράφου & Τηλεόρασης του Τμήματος Κινηματογράφου του Αριστοτελείου Πανεπιστημίου Θεσσαλονίκης η οποία είναι και αντιπρόεδρος του μεταπτυχιακού προγράμματος «Film and Television Studies» Μπέττυ Κακλαμανίδου για αυτού του είδους τις σειρές, τις ιστορίες που παρουσιάζουν και πώς αυτές προσλαμβάνονται από τους θεατές. 

Vongai is an award-winning actor, singer and writer based in New York for the last 6 years. She has worked in theatre, film, television and voiceovers. Before life in the Big Apple she was born in Zimbabwe, raised in the United Kingdom and China. She has a B.A in Film and Television Studies from Brunel University and classically trained in acting, voice and movement at the American Academy of Dramatic Arts in New York City. Her favourite things are spirituality, women's empowerment and watching reruns of Schitts Creek and #BlackAF. In this episode, Vongai reveals the inspiration behind ZimExcellence and shares her hopes for the future of the show and the larger Zimbabwean community. Website: www.zimexcellence.comInstagram: https://www.instagram.com/zimexcellencepodcast/Instagram: https://www.instagram.com/vongaiofficial/Twitter: https://twitter.com/vongaiofficialActions to take Episode Transcription availableInterested in being featured or want to leave us a message? Email us at zimexcellencepodcast@gmail.comEnjoyed this episode? https://www.buymeacoffee.com/vongaiofficialSupport post-production https://auphonic.com/donate_credits?user=zimexcellenceSupport the show>> Sign up for Vongai's podcast workshop Buy ZimExcellence Merch

Learn how to reframe rejection and start embodying your higher self and listening to your intuition with today's guest! Vongai is an award-winning actor, singer and writer based in New York for the last 6 years. She has worked in theatre, film, television and voiceovers. Before life in the Big Apple she was born in Zimbabwe, raised in the United Kingdom and China. She has a B.A in Film and Television Studies from Brunel University and classically trained in acting, voice and movement at the American Academy of Dramatic Arts in New York City. Her favourite things are spirituality, women's empowerment and watching This Is Us. Show her your love: Instagram & Twitter: @vongaiofficial Website: https://www.vongai.com/ ************************************* Visit https://www.mindfulintrovert.com Follow me on Instagram @coachjoanacalado Book your FREE 30-min inner peace assessment https://MindfulIntrovert.as.me/ --- Send in a voice message: https://anchor.fm/coachjoanacalado/message

Anuja Pradhan and Alev Kuruoglu talk about gender and representation issues in TV production - and in the writer's rooms. Shows like The Queen's Gambit and Indian Matchmaking are put under the microscope. Consumer sociologist Carly Drake joins along the way.Notes and reading tips:“The Male Gaze”It was Laura Mulvey who came up with this term, in in the essay “Visual Pleasure and Narrative Cinema” (Published in 1975, in the journal Screen - reprinted in the collection “Visual and Other Pleasures” in 1989) The following are some sources if you would like to better understand engagement with and academic trajectories of this term:Sassatelli, R. (2011). Interview with Laura Mulvey: Gender, gaze and technology in film culture. Theory, Culture & Society, 28(5), 123-143.Cooper, B. (2000). “Chick flicks” as feminist texts: The appropriation of the male gaze in Thelma & Louise. Women's Studies in Communication, 23(3), 277-306.Oliver, K. (2017). The male gaze is more relevant, and more dangerous, than ever. New Review of Film and Television Studies, 15(4), 451-455.Benson-Allott, C. (2017). On Platforms: No Such Thing Not Yet: Questioning Television's Female Gaze. Film Quarterly, 71(2), 65-71.Jones, A. (Ed.). (2003). The feminism and visual culture reader. Psychology Press.Indian Feminist Scholars:Mohanty, C.T. (1988) Under Western Eyes: Feminist scholarship and colonial discourses. Feminist Review. 30. 61-88.Mohanty, C.T. (2003) “Under Western Eyes” revisited: Feminist solidarity through anticapitalist struggles. Signs. 28 (2). 499-535.John, M. (2014) Feminist vocabularies in time and space: Perspectives from India. Economic and Political Weekly. 49(22). 121-130.Gender and TV:hooks, b. (2003). The oppositional gaze: Black female spectators. The feminism and visual culture reader, 94-105.Nygaard, T., Lagerwey, J. (2020) Horrible White People: Gender, genre, and television's precarious whiteness. United States: NYU Press.Tuncay Zayer, L., Sredl , K., Parmentier,M. & Coleman, C. (2012) Consumption and gender identity in popular media: Discourses of domesticity, authenticity, and sexuality. Consumption Markets & Culture, 15:4, 333-357.Kandelwal, M. (2009) Arranging Love: Interrogating the vantage point in cross‐border feminism. Signs. 34(3). 583-609.Cavender, G., Bond-Maupin, L. And Jurik, N. C. (1999) ‘The construction of gender in reality crime TV', Gender & Society, 13(5), pp. 643–663. doi: 10.1177/089124399013005005.D'Acci, Julie. 1994. Defining women: Television and the case of “Cagney and Lacey.” Chapel Hill: University of North Carolina Press.Green, S. (2019) Fantasy, gender and power in Jessica Jones, Continuum, 33:2, 173-184, DOI: 10.1080/10304312.2019.1569383General TV:Fiske, John. 1987. Television culture. New York: Routledge Kegan Paul.

The sun has set on Sunnydale, and so now we leave behind the hell of the small town and head into the Big Bad City. Stacey Abbott, Lecturer in Film and Television Studies at Roehampton University, editor of Reading Angel: The TV Spin-Off With a Soul, and author of Celluloid Vampires: Life After Death In The Modern World and Near Dark (BFI Film Classics) joins me to usher in the era of Angel, the/a vampire with a soul. We talk for a bit about how she was, for years, a shining beacon of Angel Studies at many, many of the Slayage Conferences, being the only person willing and eager to present on the spinoff series, before FINALLY diving into our discussion of the first two episodes.   “City Of” introduces the new paradigm of the film noir Los Angeles setting, with it’s dark alleys, buzzing neon, and rapid-edit transitions. We’re also introduced to a new player in half-demon “sidekick” Doyle, sent by the Powers That Be (“Powers that be what?”) to be Angel’s sponsor on his quest for redemption. And we get the very welcome return of Cordelia Chase, although she’s slightly different in this new setting than when we last saw her. And lastly, the notion of a Big Bad seems like it might not mean quite the same thing in this series as it did in the last one.   After the first episode sets the cast and stage, “Lonely Hearts” (or is it “Heart” singular?!?) begins to show us how this show will explore themes of heroism, good vs. evil, savior complexes, and helping the helpless. And one more damaged character joins the dramatis personae as Kate Lockley, the “cop contact sympathetic to the private eye” noir trope, enters the picture.    NEXT: Stephanie Graves follows us from the graveyard to the morgue as we discuss episodes 103, “In the Dark,” 104, “I Fall to Pieces,” and 105, “Rm w/a Vu.”     BREAKDOWN 00:00:55  -  Intro / Guest 00:18:08  -  Main Topic 01:27:06  -  Outro / Next     LIBRARY Reading Angel: The TV Spin-off With a Soul, edited by Stacey Abbott Angel (TV Milestones Series) by Stacey Abbott Celluloid Vampires: Life After Death in the Modern World, by Stacey Abbott Near Dark (BFI Film Classics), by Stacey Abbott     LINKS Monstrum: A Peer-Reviewed Journal of Studies in Horror     MUSIC “Conversations (feat. Wesley Mead)” by Azura (2017) “Touched” by VAST, Visual Audio Sensory Theater (1998)  

Film and Television Studies and Vampire-Zombie-Horror scholar Stacey Abbott stops by to talk about her latest book, NEAR DARK, part of the BFI Film Classics series by Bloomsbury. What are your favorite vampire stories? Let us know! Call 602-635-6976 and leave a message, send Summer an email, or in the comments below!

Why does The Empire Strikes Back matter? In BFI Classics Series's The Empire Strikes Back (Bloomsbury, 2020), Rebecca Harrison, a lecturer in Film and Television Studies at the University of Glasgow, tells the story of the film’s production and reception, and analyses the film’s on-screen representations. The book is framed through the idea of disruption, with The Empire Strikes Back discussed as a film that disrupted the industry, genre and cinematic conventions, and critical expectation. Moreover, the book disrupts conventional narratives of both the film and the Star Wars franchise more generally, for example centring the role of women in the history of Empire’s production. The book is essential reading as both a scholarly text, across and beyond humanities and media studies, and for any general reader interested in cinema and Star Wars. Learn more about your ad choices. Visit megaphone.fm/adchoices

Why does The Empire Strikes Back matter? In BFI Classics Series's The Empire Strikes Back (Bloomsbury, 2020), Rebecca Harrison, a lecturer in Film and Television Studies at the University of Glasgow, tells the story of the film’s production and reception, and analyses the film’s on-screen representations. The book is framed through the idea of disruption, with The Empire Strikes Back discussed as a film that disrupted the industry, genre and cinematic conventions, and critical expectation. Moreover, the book disrupts conventional narratives of both the film and the Star Wars franchise more generally, for example centring the role of women in the history of Empire’s production. The book is essential reading as both a scholarly text, across and beyond humanities and media studies, and for any general reader interested in cinema and Star Wars. Learn more about your ad choices. Visit megaphone.fm/adchoices

Why does The Empire Strikes Back matter? In BFI Classics Series's The Empire Strikes Back (Bloomsbury, 2020), Rebecca Harrison, a lecturer in Film and Television Studies at the University of Glasgow, tells the story of the film’s production and reception, and analyses the film’s on-screen representations. The book is framed through the idea of disruption, with The Empire Strikes Back discussed as a film that disrupted the industry, genre and cinematic conventions, and critical expectation. Moreover, the book disrupts conventional narratives of both the film and the Star Wars franchise more generally, for example centring the role of women in the history of Empire’s production. The book is essential reading as both a scholarly text, across and beyond humanities and media studies, and for any general reader interested in cinema and Star Wars. Learn more about your ad choices. Visit megaphone.fm/adchoices

Why does The Empire Strikes Back matter? In BFI Classics Series's The Empire Strikes Back (Bloomsbury, 2020), Rebecca Harrison, a lecturer in Film and Television Studies at the University of Glasgow, tells the story of the film’s production and reception, and analyses the film’s on-screen representations. The book is framed through the idea of disruption, with The Empire Strikes Back discussed as a film that disrupted the industry, genre and cinematic conventions, and critical expectation. Moreover, the book disrupts conventional narratives of both the film and the Star Wars franchise more generally, for example centring the role of women in the history of Empire’s production. The book is essential reading as both a scholarly text, across and beyond humanities and media studies, and for any general reader interested in cinema and Star Wars. Learn more about your ad choices. Visit megaphone.fm/adchoices

Warning: contains spoilers and strong language. With his 1968 debut Night of the Living Dead, George A. Romero helped to inaugurate a new era of both horror film and independent cinema, and introduced the world to the zombie as we know it today: re-animated corpses, stumbling towards the living in search of flesh, a ghoulish new kind of monster that has, in the subsequent half-century, become an essential part of the world’s cultural imaginary. From that moment on, Romero would become known as the maker of zombie movies, directing 5 more films set in the Living Dead universe, an artist completely identified with that initial monstrous creation. Romero is a complex figure in American cinema. He worked outside the normal systems of financing and distribution for most of his career, choosing to live and work in Pittsburgh, where he built an industry and a community. But while being far from Hollywood ensured that access to funding for his projects would be severely limited, and often contingent on his branding as the director of the “Dead” movies. The immense, global impact of Night of the Living Dead ensured he could have a career, but it restricted the scope and range of that career. However, Romero’s archives paint a different picture. The University of Pittsburgh has acquired the George A. Romero Archival Collection, a massive archive that includes materials from the full span of his career, from his earliest short films to his final projects. There are drafts of genre classics like Dawn of the Dead and Day of the Dead that show their evolution throughout the process of pre-production, supplemented by boxes and boxes of documents detailing their production and reception. But the largest and most revelatory component of the archive is the hundreds of projects that Romero never got to make. He only made 16 features in his lifetime, but he was a hugely prolific writer, with dozens and dozens of complete screenplays and many many more proposals, treatments, and partial works. This talk will give a brief overview of the material in the archive, focusing on what the unfilmed and unpublished projects tell us about Romero’s larger themes, with pictures and clips of work from the archive that has rarely or never before been publicly viewed, and how that work recontextualizes his genre films. It will then focus on the specific case study of his early approaches to “found footage” mockumentary horror, which he tied to multiple projects about Bigfoot and other pre-human creatures and communities, before incorporating it into his 2006 zombie movie, Diary of the Dead. == About Adam Charles Hart == Adam Charles Hart is the author of Monstrous Forms: Moving Image Horror Across Media (Oxford UP). He has taught at Harvard University, North Carolina State University, and the University of Pittsburgh, and is currently a Visiting Researcher at the University of Pittsburgh Library. His writings on horror films and video games and on the American avant-garde cinema have appeared in Discourse, The Journal of Cinema and Media Studies, Imaginations, Studies in the Fantastic, The New Review of Film and Television Studies, and the edited collections Gothic Cinema (Edinburgh UP) and Companion to the Horror Film (Wiley-Blackwell UP). He is currently at work on two monographs: a critical study of the work of George A. Romero and a history and theory of handheld cinematography in film, television, and video called The Living Camera: The History, Politics, and Style of Handheld Cinematography from 16mm to GoPro. Video and transcript available at: https://cms.mit.edu/video-adam-charles-hart-living-dead-george-romero-archive.

Episode 17 : Acné, pustules, kystes...Pourquoi regardons-nous des vidéos gores sur YouTube ? L'article original : Annabelle Mooney, "Rituals about the skin: comments on pimple popping videos", Social Semiotics, 2020. L'outil utilisé pour collecter les commentaires YouTube : https://ytcomments.klostermann.ca --------- Les références citées dans l'article et mobilisées implicitement ou explicitement dans le podcast : **Sur le dégoût** : Mary Douglas, De la souillure, Paris, La Découverte, 2005 [1966]. Julian Hanich, "Dis/Liking Disgust: The Revulsion Experience at the Movies", New Review of Film and Television Studies, 7(3), p. 293–309, 2009. **Sur la peau** : Lisa Blackman, The Body: The Key Concepts, Londres, Berg, 2008. Marc Lafrance, "Skin Studies: Past, Present and Future", Body & Society, 24(1‑2), 2018, p. 3‑32. Patricia McCormack, "The Great Ephemeral Tattooed Skin", Body & Society 12 (2),p. 57–82, 2006. Samantha Murray, "Corporeal Knowledges and Deviant Bodies: Perceiving the Fat Body", Social Semiotics 17 (3), p. 361–373, 2007. Julia Skelly, "Skin and Scars: Probing the Visual Culture of Addiction", Body & Society 24 (1-2), p. 193–209, 2018. **Sur l'éthique** : Casey Fiesler, Nicholas Proferes, "‘Participant' Perceptions of Twitter Research Ethics." Social Media+ Society, 4(1), 2018. Roxanne Leitão, "Technology-Facilitated Intimate Partner Abuse: A Qualitative Analysis of Data from Online Domestic Abuse Forums", Human–Computer Interaction, 2019. Michael Zimmer, "‘But the Data is Already Public': On the Ethics of Research in Facebook", Ethics and Information Technology, 12 (4), p. 313–325, 2010. ------ Pour aller plus loin : Une belle série de France culture sur la "philosophie du gore" : https://www.franceculture.fr/emissions/series/philosophie-du-gore Bernard Andrieu, "L'osmose émersive De la peau vivante à la peau vécue", Spirale, 2019, en ligne : https://hal.archives-ouvertes.fr/hal-02526949 Maurice Merleau-Ponty, Phénoménologie de la perception, Paris, Gallimard, 1976. Marie-Anne Paveau, "Littérature cutanée", 21 janvier 2012, en ligne : https://penseedudiscours.hypotheses.org/7942 Gianfranco Marrone, Principes de la sémiotique du texte, Paris, Mimesis, 2016.

Alice is a Cardiff based Director and Dramaturg, originally from the Cynon Valley. After studying Film and Television Studies at Aberystwyth University, she now works in the theatre industry and has worked predominantly with companies and individuals based in Wales. Alice is passionate about women-led work and new writing, this led to her setting up her own women-led company, BolSHE. As a Welsh speaker, she is also interested in developing new bilingual pieces that push the norm and boundaries of Welsh medium theatre. Connect with Alice on Instagram: @aliceeklund  & @bolshetc Twitter: @aliceeklund_  &  @bol_she

Sophia Loren, the 86 year old film icon, returns with The Life Ahead. And while we are all waiting for the Netflix movie, Alican Pamir has a look at the Italian's amazing career. Julie Lobalzo Wright, Teaching Fellow in Film & Television Studies 02:57 #SophiaLoren #Actress #Netflix

On this episode of Showcase; Sophia Loren Returns 00:47 Julie Lobalzo Wright, Teaching Fellow in Film & Television Studies 03:58 Serefudin's White Mosque 10:57 Preserving Buzludzha 13:26 The Glorias 15:57 Slava Polunin's Academy of Fools 18:39 In Conversation with Youri Omelchenko 21:12 #SophiaLoren #Buzludzha #SlavaPolunin

In this podcast I talk with Dr Claire Jenkins about her work on ‘100 Million Dollar Women’ – the women directors who are currently working and thriving in hollywood. Claire is a lecturer in Film and Television Studies at of University of Leicester and I first came across her brilliant work at the one day […]

Mario is originally from Rome, Italy. After finishing high school in Rome he decided to study abroad in Wales, at Aberystwyth University to study joint honors in Film and Television Studies, as well as Drama and Theatre Studies. After obtaining his BA he began auditioning and applied to AMDA Los Angeles. He adventured out on this alone and once accepted, his dreams truly started to become achievable! @metisthemyth  SFX by Zapsplat

This week, we had a virtual catch up with the wonderful, Luke Birch - all the way from LA! We chat about many topics; Luke's experiences in the television industry, long-distance relationships, YouTube and tonnes more. Not to mention he's recently smashed university and graduated like many of our listeners - massive congrats! * Despite only finishing university this year, Luke has achieved so much and can speak for the graduate community on so many levels. Beginning his Youtube channel back in 2013, he has gone on to amass over 250,000 subscribers. He was acknowledged by YouTube and Google as the UK's number 1 'Content Creator on the Rise' and has featured in the Telegraph, Gay Times Magazine and in The Sunday Times as one of the UK's leading Study YouTubers. Alongside his hugely successful YouTube career, Luke has also worked for the BBC as a digital content creator and consultant, producing three viral videos for BBC 3. And just when you thought that was enough... Luke also spent a summer interning at 20th Century Fox in LA, during which time he aided the screenings, focus groups and QC's for films such as 'Love Simon', 'Bohemian Rhapsody' and 'The Hate You Give'. As well as studying for a degree in Film & Television Studies at the University of Lincoln, Luke was committed to building a platform of creative comedy and helping to empower students and promote great resources for learning. He's also a vocal spokesperson and activist for the LGBTQ+ community and talks openly about coming out and the important of being unapologetically yourself. Luke is one of the most open and compassionate people we've ever had the pleasure to interview and his zest for life shines through... if only you could hear our laughs behind those mute buttons! We spoke about relationships, positive mindsets and prioritising goals, such as toning down his presence on YouTube to focus on his career. This episode is sprinkled with some great tips on internships, work experience and following your dreams - no one personifies chasing goals quite like Luke. * Grad Life by the Horns is a podcast covering every element of graduate life. From the existential dread that accompanies the last few months of university, to entering the post-education world jobless and £30,000 in debt, this fortnightly show is dedicated to helping and celebrating those navigating the 'graduate wasteland'. * Social Media: Co-host: Becki Hills @beckihills Co-host: Sophie Scully @sophsculz Instagram: @gradlifebythehorns Twitter: @gradlifebth Guest: Luke Birch @lukebirch_ Artwork: Livi Arnold @livcreatively_ Producer: Pulama Kaufman @pulam.a Music composer: Julian Schoming @brotherjuju * Want to get in touch? Email us here: gradlifebythehorns@gmail.com

This week I talked to Neil Goldman, Executive Producer and writer of Community. He took me to school on how to make great television as we revisit Scrubs, Family Guy, and yes, Step by Step. I loved talking with him and I know you're going to enjoy his inside look on making tv we love. Intro by The 88. Outro by Ludwig Göransson. Sound Engineer Robbie Sherman. --- Support this podcast: https://anchor.fm/six-seasons-podcast/support

Game of Thrones turned several gay side characters from the books into caricatures of contemporary gay people, weak gay men and butchy gay women, while the gender fluidity in the books of characters like Cersei and Daenerys was left in the editing room. Gortibutor John Taggart, with a BA Film and Television Studies and currently working on his Masters, joins Gil Kidron for a pleasant conversation that devolves into frustrated rants. Support us on Patreon: https://www.patreon.com/gotacademy Got Academy on social media: ▸ YouTube https://www.youtube.com/channel/UCqBYWvKcQCk5JbRQbO05X0w ▸ Twitter https://twitter.com/GOT_Academy ▸ Facebook https://www.facebook.com/gotacademy/

This week Patrick and an expert panel of film historians, cultural commentators, writers and critics discuss Martin Scorsese's iconic movie 'Taxi Driver'. Joining Patrick on the panel were Dr Harvey O Brien, author of  'Action Movies: The Cinema of Striking Back' and an assistant professor at the School of English, Drama and Film, UCD, Glenn Kenny, film critic and journalist for the New York Times and the author of 'Robert De Niro: Anatomy of an Actor', Dr Todd Berliner, Professor of Film Studies, University of North Carolina and the author of 'Hollywood Incoherent: Narration in Seventies Cinema', Dr Julie Lobalzo Wright, Fellow in Film and Television Studies, University of Warwick and the author of 'Crossover Stardom: Popular Male Music Stars inAmerican Cinema' and film writer, teacher and cultural critic Dr Jonathan Kuntz,  UCLA School of Theater, Film and Television.  

Why are these movies such a phenomenon? And why do we all enjoy being part of this magical world? We've have put these questions to Dr James Walters. Reader in Film and Television Studies. Dr Walters is joined by his colleague Dr Catherine Lester as they discuss whether this movie franchise can sustain itself and how can we use them to understand the fantasy cinema more generally? www.birmingham.ac.uk/fantasticresearch

Law and Order: the legacy - 40 years ago, GF Newman's quartet of plays, Law & Order, provoked calls from MPs for the author to be arrested for sedition and the summoning of the director-general of the BBC to the Home Office to explain himself. The dramas explored the role of the Metropolitan Police, the criminal, the solicitor and the prison system around one central story. They provided a savage and uncompromising assessment of the criminal justice system, one in which corruption and stitch ups were common. Laurie Taylor considers the impact of those plays and the extent to which they created a public and political debate which produced positive reform. Four decades later, have we any cause for complacency? He's joined by the writer, GF Newman, Tim Newburn, Professor of Criminology at the LSE and Charlotte Brunsden, Professor of Film & Television Studies at the University of Warwick. Producer: Jayne Egerton.

Sherry Lansing in conversation with Stephen Galloway at Live Talks Los Angeles, May 1, 2017 discussing his book, "Leading Lady: Sherry Lansing and the Making of a Hollywood Groundbreaker." The talk took place at the Moss Theatre in Santa Monica, CA. Sherry Lansing has worked in the motion picture business for almost 30 years where she was involved in the production, marketing, and distribution of more than 200 films, including Academy Award winners Forrest Gump (1994), Braveheart (1995), and Titanic (1997). Throughout her film career, she earned a reputation as a trailblazer, a visionary leader, and a creative filmmaker.  In 1980, she became the first woman to head a major film studio when she was appointed President of 20th Century Fox.  Later, as an independent producer, Lansing was responsible for such successful films as Fatal Attraction, The Accused, School Ties, Indecent Proposal, and Black Rain.  Returning to the executive ranks in 1992, she was named Chairman and CEO of Paramount Pictures and began an unprecedented tenure that lasted more than 12 years (1992 – 2005), during which the studio enjoyed enormous creative and financial success. She founded The Sherry Lansing Foundation (SLF) in 2005, a nonprofit organization dedicated to cancer research, health, public education, and encore career opportunities.  Among the SLF’s initiatives is the EnCorps STEM Teachers Program, founded by Lansing to transition corporate professionals and military veterans into top quality California public school math and science teachers.  Lansing is also a co-founder of the Stand Up To Cancer initiative, which funds collaborative, multi-institutional cancer research “Dream Teams.”  She serves on the  University of California Board of Regents, as a trustee of Big Brothers Big Sisters of Greater Los Angeles, where she co-founded the Scholarship Fund for deserving “Littles Sisters and Brothers.”  In December 2004, Lansing was appointed to the Independent Citizens’ Oversight Committee of the California Institute for Regenerative Medicine.   Lansing additionally serves on the boards of the American Cancer Society Cancer Action Network, the Broad Center for the Management of School Systems, the Carter Center, the Entertainment Industry Foundation, the W.M. Keck Foundation, the Lasker Foundation, and the Pacific Council on International Policy.  She also serves on the Executive Committee of Friends of Cancer Research and is Honorary Chair of STOP CANCER, a nonprofit philanthropic organization which she founded in partnership with the late Dr. Armand Hammer.   Lansing graduated cum laude with a Bachelor of Science Degree from Northwestern University in 1966.   Stephen Galloway is an Emmy Award-winning journalist who serves as the executive features editor for The Hollywood Reporter. Among his honors, he was named 2013 journalist of the year at the National Entertainment Journalism Awards. He has interviewed a who’s who of Hollywood including Steven Spielberg, Denzel Washington, Sean Penn, Brad Pitt and George Clooney. He also created the Reporter’s acclaimed roundtable series, featuring the likes of Clint Eastwood, Peter Jackson, Quentin Tarantino, James Cameron, Sandra Bullock and Nicole Kidman. In 2014, he was named the Cosgrove Visiting Artist at Loyola Marymount University, where he continues to host the interview series The Hollywood Masters. Born in the United Kingdom, he holds an M.A. from Cambridge University and is a graduate of the American Film Institute’s Center for Advanced Film and Television Studies.

Film & Television Studies director, Prof. Roy Grundmann, talks to Andy and Greg about the cinematic studies side of the program and the unique teaching opportunities that our students obtain while pursuing the MFA degree. http://www.bu.edu/com/academics/film-tv/graduate/film-tv-studies/ #COMpodcast #liveit

Dr. Deb Jaramillo joins Andy and Greg to chat about the academic focus and pedagogy of our Film and Television Studies program. http://www.bu.edu/com/academics/film-tv/graduate/film-tv-studies/ #liveit #COMpodcast

This interview with Professor Roberta Pearson and Elizabeth Evans from the Institute of Film and Television Studies shatters the idea that TV is bad for you. They have just completed a report for the Royal National Institute of Blind People on the quality and quantity of Audio Description for the visually impaired. In this interview you’ll hear what they discovered.

Heather DiPietro is a recent graduate of the University of Arizona with a Bachelor of Arts in Film and Television Studies. She started watching soap operas when she was 4 years old and since then hasn't be able to stop watching her favorite soap opera, General Hospital.  In addition, Heather worked as an associate producer on the film Soap Life, a documentary on the rise and fall of the American soap opera.  And now she has created her own soap opera web series called My Story which is about a soap opera fan, Nicole, and her friends as they discover their lives are just as soapy as the daytime drama they watch. Pre-recorded.  Approx. 16 minutes. Check out My Story at http://www.mystorywebseries.com/

Lei Zhang is an Associate Research Fellow at the National Center for Radio and Television Studies at Communication University of China. He had visiting experience in University of Pennsylvania, City University of Hong Kong and Goldsmiths College at University of London. His research interests include cultural studies and cultural consumption, political economy of communication in transitional China, and media anthropology.

Amanda Ting Zhou graduated with a Ph.D. degree from Journalism School of Fudan University in China, now she lives in Beijing and is working as an Associate Professor in National Center for Radio and Television Studies, Communication University of China. She gives lectures to both undergraduate and graduate students, on the history of mass communication and the research of media production.

Deqiang Ji, PhD, is an assistant research fellow of National Center for Radio and Television Studies at Communication University of China. His studies include the political economy of digitalization in China, media reform and social restructuring, and media literacy. He teaches graduate courses at CUC, such as the political economy of communication and communication theories.

Jidong Li, PhD, is associate professor of National Center for Radio and Television Studies at Communication University of China. His research Interests include communication policy and institution studies, media industry and public service studies, as well as new media studies.

Amanda Ting Zhou graduated with a Ph.D. degree from Journalism School of Fudan University in China, now she lives in Beijing and is working as an Associate Professor in National Center for Radio and Television Studies, Communication University of China. She gives lectures to both undergraduate and graduate students, on the history of mass communication and the research of media production.

Jidong Li, PhD, is associate professor of National Center for Radio and Television Studies at Communication University of China. His research Interests include communication policy and institution studies, media industry and public service studies, as well as new media studies.

Lei Zhang is an Associate Research Fellow at the National Center for Radio and Television Studies at Communication University of China. He had visiting experience in University of Pennsylvania, City University of Hong Kong and Goldsmiths College at University of London. His research interests include cultural studies and cultural consumption, political economy of communication in transitional China, and media anthropology.

Yun Long, PhD, is professor and deputy director of the National Center for Radio & Television Studies at Communication University of China. Based on a long-term audience survey, Dr. Long focuses on the study of the effects of TV violence in Mainland China. Her current research also includes media ethics issues in transitional society.

Deqiang Ji, PhD, is an assistant research fellow of National Center for Radio and Television Studies at Communication University of China. His studies include the political economy of digitalization in China, media reform and social restructuring, and media literacy. He teaches graduate courses at CUC, such as the political economy of communication and communication theories.

Yun Long, PhD, is professor and deputy director of the National Center for Radio & Television Studies at Communication University of China. Based on a long-term audience survey, Dr. Long focuses on the study of the effects of TV violence in Mainland China. Her current research also includes media ethics issues in transitional society.

This panel discussion from October 22, 2009, hosted jointly by ISTS and the Institute for Information Infrastructure Protection (I3P), in recognition of Cyber Security Awareness Month, explored a range of topics related to the separation of our private and public selves online. The panel addressed such vexing questions as: Does an employer have the right to monitor and control its employees’ online activities? Should any information posted on the Internet be considered private? Do these questions suggest a paradigm shift in human interaction unique to the cyber realm or have we faced similar questions from technologies in the past? The panel—moderated by Denise Anthony, Chair of the Department of Sociology and Research Director of ISTS—featured: Hans Brechbuhl, Executive Director of the Center for Digital Strategies at the Tuck School of Business, James Moor, Daniel P. Stone Professor in Intellectual and Moral Philosophy, Charles Palmer, Chief Technical Officer of Security and Privacy at IBM, and Mark Williams, Associate Professor of Film and Television Studies.