Friday, 22 January 2010

Guest Paper: Natasha Whiteman, Watching 'Good Television'

The next guest paper in this year's seminar organized by the Cultural Studies Research Group with ICAn features Natasha Whiteman (University of Leicester) who will be speaking on 'Watching "Good Television": The Reception of Battlestar Gallactica and The Wire. The talk takes place on Wednesday 27th January 2010, from 4.00-5.30pm in room GEE219 (George Eliot Building on the Clifton Campus of Nottingham Trent University). The abstract of the paper is as follows:

This paper examines the reception of Battlestar Galactica and The Wire by critics and academics. Despite their differences, each series has received widespread critical acclaim and inspired a range of academic productivity. Each has been configured as an example of “good” television that it is acceptable to watch, and each has been contrasted to less “worthy” forms of television production. This paper examines the positioning involved in critical and academic discussion of these series, focusing attention on the distancing/affiliating moves made by critics and academics in their often fannish responses to these television products. What do these moves tell us about these series and those who celebrate it? What do they tell us about the relationship between fans, critics and academics? In exploring these issues the paper develops work that has examined modes of identification with media texts within online fan communities (Whiteman, 2007).

Everyone is welcome but places are limited so if you would like to attend, please email Joanne Hollows
(Photo credit: Jinx. Permissions)

1 comment:

  1. A nice piece of viewing from BBC.

    Portrait Of The 1985 Handsworth Riots, UK- Pogus Caesar - BBC1 TV . Inside Out.

    Broadcast 25 Oct 2010.

    Birmingham film maker and photographer Pogus Caesar knows Handsworth well. He found himself in the centre of the 1985 riots and spent two days capturing a series of startling images. Caesar kept them hidden for 20 years. Why? And how does he see Handsworth now?.

    The stark black and white photographs featured in the film provide a rare, valuable and historical record of the raw emotion, heartbreak and violence that unfolded during those dark and fateful days in September 1985.