Television is and always has been changing. The recent shifts, connected to new, online providers creating their own content and offering new forms of distribution, have led to some scholars (Jenners 2016) questioning if the age of TVIV has arrived. While Mareike Jenner remains unconvinced that the transformations are significant enough to warrant such a description, it is nevertheless noticeable that the recent changes affecting television have also had an impact on our subject of television studies. For example, Catherine Johnson’s work (2007, 2012) points to how even the transformations brought about by the deregulation and commercialisation of public service broadcasting require us to investigate more strongly aspects of television that pertain to marketing and PR.
As others (e.g. Born 2011, Johnson, Kompare and Santo 2014) have shown, these shifts also impact on how television operates as a workplace. In relation to consumption, shifts towards 360-degree commissioning (Mittell 2014) mean that we need to be more aware of the transmedia experiences of audiences (Evans 2011) and their roles as fan-ancers (Hills 2015). Looking at the development of new media and its use, Evans et al. (2017) have shown that our conceptualisations of audiences’ television consumption might be helpful to make sense of their second screen use as well. Outside and inside of national borders, television is morphing into a transnational entity that requires complex negotiations by the different stakeholders involved (Kuipers 2011, 2015).
In addition to these industry-led changes, there are those that come from cognisant fields of research: the shift towards high-end drama production, particularly in America, for example, has attracted the attention of a number of film scholars who bring with them different terminologies, while other aspects of television – be that the representation of violence, law, disability, etc. – have a longer history of attracting scholars from other disciplines.
ICE is delighted to promote this first biennial conference which is a collaboration between Edge Hill University, Critical Studies in Television and the Television Studies Section of the European Communication Research and Education Association (ECREA).
The conference will take place at Edge Hill University, in Ormskirk, north of Liverpool, UK. It is a residential conference, i.e. accommodation is available on campus.
Derek is Associate Professor and Chair of Film and Media Arts in the Meadows School of the Arts at Southern Methodist University. His work on television forms and systems includes the books Rerun Nation: How Repeats Invented American Television (2005) and CSI (2010), as well as many journal and anthology articles. He is also a co-editor of the collection Making Media Work: Cultures of Management in the Entertainment Industries (2014). His current interests focus on the fate of past media systems, objects, and forms in the digital era.
Kristyn is Reader in Film and Television at the University of York. Her research into desire and emotion and affect spans film, television and visual culture. She has published widely, including the monographs on Media Audiences: Television, Meaning and Emotion (2009) and Emotion Online: Theorising Affect on the Internet (2013). She has also been a script/dialogue consultant on Kay Mellor’s Fat Friends.
Eva Novrup Redvall
Eva is Associate Professor in film and media studies at The University of Copenhagen. Her research focuses on European film and television production, e.g. screenwriting practices, co-production strategies and specific production frameworks. She has published widely in international books and journals. Among her latest books are the monograph Writing and Producing Television Drama in Denmark: From The Kingdom to The Killing (2012), the edited collection European Cinema and Television: Cultural Policy and Everyday Life (with Ib Bondebjerg and Andrew Higson, 2015) and Transnational European Television Drama: Production, Genres and Audiences (co-authored with Ib Bondebjerg et al., 2017.) She has been a film critic for the daily Danish newspaper Information since 1999 and is part of the Adjudication Committee for The Nordic Council Film Prize 2011–2020.
Ruchi Kher Jaggi
Dr Ruchi Kher Jaggi is currently the Director of Symbiosis Institute of Media & Communication, Symbiosis International University, Pune, India. She has been teaching Media & Communication Theories, Media & Culture Studies, Research Methodology, Development Communication and Writing for Media courses to undergraduate and postgraduate students for over 13 years now. Her academic interests include media representations, children and television, popular culture analysis, gender studies, television studies, and emerging discourses of identity on the new media. She is a peer-reviewer with national and international journals and publications, including Taylor & Francis, Sage & IGI Global, and also sits on the editorial board of Amity Journal of Media & Communication Studies.
Jack Archer has made a number of films with Hopscotch for BBC Scotland. He will present his documentary on Scottish Bothies, called Bothy Life.
Len Gowing is a cinematographer who has worked on a number of productions including Scott & Bailey, Call the Midwife and most important for the Merseysiders amongst us, Moving On.
- £290 – 3 Day Rate
- £90 – 1 Day Rate
- £120 – 3 Day Reduced Rate (Students and Retired Individuals)
- £45 – 1 Day Reduced Rate (Students and Retired Individuals)
- £120 – EHU Staff
- Onsite B&B accommodation is available for delegates, at a rate of £40 per night.
- £300 – Stands and one representative (including lunches and 2 nights’ B&B accommodation)
- £100 – Additional representative (2 nights’ accommodation & breakfast)
- £75 – A4 Flyer in delegate pack
- £50 – A5 Flyer in delegate pack
Further information is available here