In focusing on Savile as an individual, this investigation downplays the role Britain’s major institutions played in producing his celebrity icon mask.
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Netflix’s subscription losses are a worrying shift for a business that had previously only seen sustained growth since 2011 – however there’s more nuance to the issue.
The ‘fool the eye’ cakes hearken back to popular paintings from another period in American history when there was anxiety over fakes, fraudsters and misinformation.
Archive 81 on Netflix uses “found footage”, a film technique beloved by the horror genre, in ways we haven’t seen before.
Romance readers would be familiar with the idea of romantic serialisation - now, Netflix’s Bridgerton brings the format to television, which is why season 1’s Duke of Hastings is nowhere to be seen.
Depicted as a restrictive and painful undergarment, the corset is often depicted as a symbol of women’s oppression in period dramas.
The allusive artist continues to fascinate as a series of new productions try to understand the man behind the work.
What exactly goes into that perfect “reality” television?
Zombies in horror are often a stand-in for our collective anxieties, manifesting our fears. All Of Us Are Dead continues this grand tradition.
What is it about Anna Delvey and Simon Leviev and how do gender and gender relations play a role in their schemes?
Inspired by the sensitive, handsome men they see on TV in their favorite K-dramas, they travel abroad in pursuit of a ‘soft’ masculinity they say they can’t find at home.
The mud rarely sticks.
The arrival of streaming platforms hasn’t been the silver bullet to solve timely release of content for Australian audiences.
“It can’t happen to me”: why we think we’re immune to con artist scams, how they go about swindling regular people - and why we love shows about them.
If characters on TV consumed less, research has found it can have an impact on the environmental behaviour of audiences
Despite the belief that people are deeply skeptical of strangers, study after study shows that humans are primed to trust one another.
The Netflix adaptation of Elena Ferrante’s The Lost Daughter explores motherhood as complexly as the book, but some things get lost in translation.
The movie is more than a metaphor for climate change. It is a metaphor for where 40 years of neoliberal economic policies have left us.
Some viewers purposefully seek out spoilers, others skip scenes with characters they don’t like. The advent of streaming has made viewers more actives and producers should take note.
There may be no shortage of offers after such a dramatic season.
Kontributor teratas
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Senior lecturer in Screen Media, Victoria University
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Professor of Media Studies, Queensland University of Technology
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Professor of Film and Screen Studies, University of Portsmouth
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Lecturer in Communications and Media, University of Notre Dame Australia
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Associate Professor, School of Media and Communication, RMIT University
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Senior Lecturer in Writing, Literature and Culture, Deakin University
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Researcher, Queensland University of Technology
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Dennis Altman adalah Sahabat The Conversation.
VC Fellow, La Trobe University
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Associate Professor of English, Flinders University
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Senior Lecturer in Media, RMIT University
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Associate Professor, University of the Sunshine Coast
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ARC DECRA Senior Research Fellow in Sex & Sexuality, La Trobe University
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Associate Professor in Cinema Studies, RMIT University
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Senior Lecturer, University of the Sunshine Coast
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Senior Lecturer in Screen Studies, University of South Australia
