SCREEN-L Archives

February 2018, Week 4


Options: Use Monospaced Font
Show Text Part by Default
Show All Mail Headers

Message: [<< First] [< Prev] [Next >] [Last >>]
Topic: [<< First] [< Prev] [Next >] [Last >>]
Author: [<< First] [< Prev] [Next >] [Last >>]

Print Reply
Derek Kompare <[log in to unmask]>
Reply To:
Film and TV Studies Discussion List <[log in to unmask]>
Thu, 22 Feb 2018 15:22:07 -0600
text/plain (98 lines)
*With apologies for cross-posting*
Deadline extended to 16 March 2018.

*Critical Studies in Television Conference“State of Play: Television
Scholarship in ‘TVIV’”*

*5th – 7th September 2018Edge Hill University, UK*
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 Jenners 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

In this conference, we are inviting papers that pertain to all aspects of
television, but are particularly interested in abstracts that engage with
the question of what television scholarship might be or become as a result
of these shifts. As a journal, we are interested in all kinds of
presentations, including traditional research papers, workshops, roundtable
discussions, screenings and posters.
Abstracts for individual papers, panels or other forms of communication are
welcome on any theme connected to television and television scholarship,
though we will give priority to papers engaging with the themes highlighted
above. Collaborations and interdisciplinary projects are also of particular

Please send abstracts of no more than 500 words* by 12pm GMT on Friday 16th*
 *March 2018* to *[log in to unmask]*
<[log in to unmask]>

*Keynote Speakers:*
*Derek Kompare*
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.

*Karen Lury* <>
Karen is Professor in Film and Television Studies at the University of
Glasgow, Scotland. She is Dean of Research in the Faculty and has worked in
areas of screen performance, children’s film and television and amateur
film and television. Her publications include *British Youth Television* (2001)
and *Interpreting Television* (2005) as well as the edited collections *The
Zoo and Screen Media: Images of Exhibition and Encounter* (2016) and *The
Child in Cinema* (2018). Her current work on *Collections: An Enlightenment
Pedagogy for the 21**st** Century* won a Leverhulme Award.

*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 post-graduate 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 on the editorial
board of Amity Journal of Media & Communication Studies.

Screen-L is sponsored by the Telecommunication & Film Dept., the
University of Alabama: