This study investigates the impact of avant-garde cinema in redefining Indonesian film aesthetics, focusing on its role in challenging dominant cultural and technological narratives in the digital era. Presented at the Cine Future: Radical Cinema on Future Perspective exhibition, the research identifies a critical gap in mainstream cinema’s limited engagement with narratives evolving alongside rapid advancements in projection technology and digital reproduction. The study is anchored in the experimental works of film students from Universitas Pendidikan Indonesia’s Film and Television Study Program, showcased in the Cine Future exhibition, which exemplifies avant-garde cinema’s potential to reinterpret traditional narratives. With the Practice-led Research methodology, this research integrates artistic practice with critical analysis, allowing student filmmakers to explore the complexities of the digital age through creative expression. Findings indicate that avant-garde cinema enables the construction of new, culturally rooted narratives by merging historical aesthetics with modern technology, providing students with a framework for critiquing and interpreting social realities. This research contributes to broader discussions on avant-garde cinema’s relevance in academic and creative fields. It demonstrates its significance in fostering critical dialogue and evolving cinema as a dynamic medium for cultural reflection. The study underscores the value of incorporating avant-garde methods within film education to prepare students for a rapidly changing cinematic landscape.

ABSTRACT This article examines how foreign-born television personalities in South Korea navigate contradictory demands to simultaneously assimilate to Korean cultural norms while appearing as cultural outsiders. Drawing on interviews with reality-television ‘ordinary celebrities,’ we analyse them as ‘identity entrepreneurs,’ who strategically leverage their ‘foreigner’ (oegugin) identity, and as ‘middling migrants,’ whose transmigration experience comprises both privilege and precarity. While ostensibly appearing as their real selves, oegugin celebrities, we show, are directed to confirm and perpetuate Korean stereotypes about non-Koreans and their native countries. We argue that their media success hinges on acting as Koreanized ‘foreigners’ – nationalistically identifying with their countries of origin and delivering culturally competent performances of selective cultural incompetence that fascinates Korean audiences without challenging them. This research bridges anthropology of transnationalism with studies of reality television, illuminating the dynamics of cultural difference, belonging, and middling migration in globalising East Asia.

Invitation to History. Some Critical Notes on the First Attempt at a Historical Study of Television in Bulgaria

This article proposes the politics of streaming time as a productive analytical lens to unflatten more general accounts of nonlinearity and acceleration, to reveal the mediating role of streaming services and broader power relations around terms of access in value reconfiguration, and to critique the cultural-economic logics of the streaming economy. Building on the literature on media and time in the internet society, and integrating platform studies and television studies, this article analyses the politics of streaming time with reference to Chinese streaming services’ turn to the subscription video-on-demand (SVOD) model, a process negotiated among multiple parties including streaming services, advertisers, audiences and regulators. The analysis shows how streaming services orchestrate elastic schedules in concert with flexible pricing and dynamic bundling to manipulate temporal and affective experiences of viewers while causing contingent boundaries of subscriber benefits. It explains how the data-contingent approach confronts subscribers with a boomerang moment of temporal displacement and surge pricing. Further, it reveals how multiple temporalities including artificial ephemerality, collusive synchronicity and metric thresholding as well as reconfigured televisual linearity are mediated to entice and extract value from subscribers. The conclusion reflects on how exploring the politics of streaming time allows a more textured understanding of emerging temporalities and the negotiation around terms of access in an increasingly contingent cultural market.

Broadcast archives have started to use Automatic Speech Recognition (ASR) to generate transcripts of their audio-visual collections to open up the latter to media professionals and media researchers. In this methodological article, we study the ASR files of Dutch archived television news on the 1986 Chernobyl nuclear disaster. By unpacking ASR’s specificities and exploring methodologies, we examine the repackaging of the Chernobyl nuclear disaster on Dutch television. Building upon Loukissas’ concept of ‘local data’, combined with insights from archival studies, digital history, and television studies, we argue that ASR ought to be considered, not just as speech-to-text, but also as speech-to-local data in which the production contexts of broadcast archives and of television newsrooms need to be taken into account. ASR appears to be a specific kind of repackaging in which the broadcasts are segmented, programmed, and archived, and subsequently used to generate a time code and speech transcript, including errors, gaps, schemata, and traces of rituals that - together - are shaping and reshaping the historical record, in this case of the 1986 Chernobyl nuclear disaster.

ABSTRACT This special issue, devoted to film and television, serves to elaborate an aesthetic register that has become so common in the past decade as to be ubiquitous. This register is shared by an extraordinary number of recent texts from feature films to television series to documentaries to experimental novels. The name we give it is one we borrow from the novelist Siri Hustvedt: ‘memories of the future’. This special issue brings together a cross-disciplinary selection of scholars from history and philosophy of history (Zoltán Boldizsár Simon), memory studies (Alison Landsberg), art history (Jörg Heiser), and film and television studies (Martha Shearer and the editors themselves) to examine the ways that contemporary film and television gives form to a reorientation of past, present and future. Together, they consider cultural manifestations of this reorientation in terms of memory and trauma, retro and scifi, forensic utopianism and historicist instability.

Background: Television and film research must be continuously updated due to media convergence. Moreover, Indonesia experienced an analog switch-off event that changed how television viewers consume television shows. Furthermore, the pattern of Indonesian film consumption has also changed since the existence of over-the-top streaming platforms, which have continued to grow. Purpose: This study aims to conduct bibliometric research on articles in the ProTVF Journal published from 2017 to 2024. Methods: This study analyzes 107 articles in the ProTVF Journal from the Google Scholar and Dimension database between 2017 and 2024. This study uses VOSviewer, Dimension, and Litmaps to assist in visualization and analysis. Results: Articles in the ProTVF journal were dominated by qualitative methods, followed by quantitative and mixed methods. Among the qualitative methods, qualitative descriptive techniques are the most frequently used, followed by semiotic and discourse analysis. Then, there are five main topics: television studies, media convergence, analysis of television shows in the Indonesian context, audience research, and the young generation as viewers in the digital era. Conclusion: The publication trend in the ProTVF Journal increased from 2017 to 2024. Based on the focus on television or film, research focusing on films is higher than research related to television. Implications: This study is the first bibliometric study to comprehensively describe articles published in the ProTVF Journal since its establishment. The results can help film, television, and media researchers understand research trends, find research collaborators, and optimize the choice of research topics. Further research will likely involve scientific collaboration between authors from various institutions, especially policymakers in Indonesia's broadcasting, advertising, and film industries.

ABSTRACT: This article is an intervention in television studies, gender studies, and Korean media studies to define “feminist realism” in television based on analyses of two K-dramas that aired in the wake of the 2018 #MeTooKorea movement— My Mister (tvN) and Something in the Rain (JTBC). Both shows include female protagonists in white-collar spaces with leftist class and gender critiques, addressing social issues that plague South Korea, such as weaponized spy technology, domestic violence, toxic masculinity, and corporate sexual harassment. Each K-drama presents a feminist perspective couched in realist aesthetics and narrative devices that reflect modern Korean literary styles by women authors as well as new realist South Korean film styles that showcase marginalized struggles.

Black horror is often investigated within film and television studies, but there is a lack of further inquiry into how Black horror exists within fandom, audience, and podcast studies. Upon completing nine in-depth qualitative interviews in our ongoing project on Black-identifying horror podcasters, we investigate how they centralize their racial identity while negotiating and participating in horror fandom and podcasting, as well as how they navigate thematic interpretation and critique of the horror genre. We offer data from our interviews with Black horror podcasters in which we discuss Jordan Peele's film Nope (2022) to explore the ways in which Black horror podcasters embody the unique position of being Black horror fans, critics, and creators. Our investigation centralizes the voices of Black horror podcasters as they discuss experiences, feelings, and labor; such insight greatly contributes to a larger conversation about marginalized audiences' engagement with the horror genre that is often either neglected or exploited.

The Introduction falls into three sections. The first presents the historical context for the collection and the themes that unite the articles, and provides summaries for each of the articles. The second section deals with the complex web of terminology surrounding ‘library music’, in its historical, theoretical, and practical aspects, with an emphasis on the implications of digital technology. The final section reviews the academic literature about library music, considered from the perspectives of categorisation and tagging, industry and labour, television studies, and historical approaches.

This study examined the perception of mass communication students on female news anchors in Africa Independent Television (AIT). The purpose of the study is to determine viewers perception on the physical characteristics of female news anchors on Africa Independent Television (AIT); whether viewers' attention is diverted from the news by the appearance of these anchors; and whether viewers' attention is affected by their physical appearance. . The study was guided by Social Perception Theory. Using survey method quantitative approach was used. The population of this study made of 5032 students in Federal Polytechnic Bauchi within period of the study (Academic Unit, 2024). 346 sample size was used. In gathering the data, questionnaire was used. Data of the study was analyzed using descriptive analysis. The sstudy indicated that, the appearance is generally viewed positively; certain aspects of attire may inadvertently cause distraction. The study conclude that, the perception of Mass Communication students regarding female television news anchors on Africa Independent Television (AIT) is generally positive, emphasizing professionalism, competence, and credibility. It is recommended that, AIT should continue to promote gender equality by ensuring equal representation of male and female anchors across all news programs.

With the advancing development of new media, short video has emerged as a crucial means for people to present facts, express viewpoints, and create art. It pertains to the development orientation of short video, the dissemination of the national image, the outlook of film and television education, and the everyday life of the public. Through the combined efforts of film and television studies, communication studies, sociology, art studies, and aesthetics, it can be discovered that "short video" is a dynamic and evolving concept by employing the approaches of "user portrait", empirical analysis, case study, and field investigation to explore short video, short video creation, and short video education. The research, creation, and dissemination of short video are all advancing rapidly in an upward trend, giving rise to issues such as conspicuous homogeneity, severe vulgarization, viewing differentiation, and acceptability. Hence, countermeasures are put forward in terms of objectives, concepts, systems, directions, and methods, and the framework of "What is it?" "Why?" "What should be done?" The fundamental ideas can effectively address the aforementioned problems and can effectively facilitate short video creation and industry development.

The portrayal of journalism in fictional series of the 21st century cannot be fully understood without considering two productions, which are The Wire (HBO, 2002-2008) and The Newsroom (HBO, 2012-2014). However, academic approaches to the two series have focused on aspects related to theme, narrative, and reception, which generally receive more attention in the field of television studies than other equally relevant viewpoints. This paper aims to fill the existing gap with regard to formal approaches by proposing a textual and comparative analysis of the stylistic keys of both series in their approach to journalistic activity. One of the main findings is that although both series are very realistic, The Wire focusses on a formal system built upon the strategies of staging, planning, editing and sound space, with a tendency to descriptively display the facts, while The Newsroom uses an expressiveness that idealises the way the profession is carried out with a sentimental emphasis.

The first studies of film and television as inducers of tourism appeared in the 1990s. From the outset, research in this area has identified a diverse range of tourist profiles, highlighting the fact that audiovisual media fans constitute an important segment of the tourism market because fan consumers dedicate considerable amounts of time, money, and energy to pursuing their specific interest. As a result, academic researchers have developed a substantial body of knowledge in this field over a relatively short period. The objective of this article is to offer a critical review of studies that have enhanced our understanding of film fan tourists to identify critical gaps in knowledge and, consequently, propose new ways to fully integrate the fan perspective into studies of audiovisual fiction-induced tourism. To this end, all the articles dealing with this specific tourist profile indexed in Web of Science, Scopus, and Google Scholar (49) have been identified and analysed based on their year of publication, geographical location, type of audiovisual production studied, methodology adopted and composition of the sample, major research themes and main theoretical and/or practical contributions. This review of the literature on film fan tourists finds that our understanding of the specific characteristics of the profile and behaviour of this type of tourist is still limited. This is due to some extent on the lack of consensus on the definition of the concept of “fans”, which has led to the erroneous classification of tourists whose travel motivation has nothing to do with a film and/or television production—and who may not even be fans of that production—as film fan tourists. The recommendations of this review thus focus mainly on reaching a consensus on the definition of the concept and establishing a single set of selection criteria for future research

Book Review: Television studies in Queer times

This study analyzes the representation of the Id, Ego, and Superego in Gojek's television commercial titled "Gojek Presents: Cerdikiawan" using Sigmund Freud's psychoanalytic theory. The study aims to identify how these three components of personality are depicted in the advertisement's narrative and their impact on the audience. The research employs a qualitative case study design, with data collected through observation and content analysis. The results show that the advertisement successfully portrays the conflict between the Id, Ego, and Superego through characters and scenes reflecting primal urges, rational decisions, and moral values. The advertisement also demonstrates how the Ego balances the Id's urges and the Superego's demands, creating an engaging narrative with strong moral messages. This research contributes to theoretical and practical knowledge in film and television studies, particularly in marketing and advertising contexts.

The way we do television studies changes with ongoing innovation; digital media and successive phases of subscription pay TV have complicated our work for the better. Additional contextual complexity in TV delivery, and the related notion of TV as a medium in perpetual identity crisis, contribute to experiences especially vivid in terms of pandemic pressures. This essay shares our collaboration from the Summer of 2020 through January 2021. We synthesize email correspondence and our many Zoom meetings discussing pandemic-inflected topics including sitcom redistribution and sports, weaving these conversations into an “inner-personal archive” combining individual history and notes on experience with in-depth television criticism. The essay explores how we as television scholars refer to the archive, and how we relate to archives that are becoming subsumed into the digital. It uses a conversational format to deconstruct, decolonize, and demonstrate the process of narrating the archive, capturing our struggle to grasp recent changes in television viewing while overwhelmed with loss, betrayal, and pain.

This essay serves as the introduction to TVNM’s special issue on “Pandemic TV,” an analysis of the ways in which the COVID-19 pandemic affected principally anglophone television and television-watching in 2020 to 2021 (including television’s response to corresponding events such as the summer 2020 Black Lives Matter uprisings and the fall 2020 U.S. presidential election). The introduction situates various periodizations of the pandemic, framing the dissonant temporalities of the pandemic against television’s traditional approaches to informing, representing, and containing ongoing crises. The essay also introduces the ten articles contained within the special issue, which covers representations of the pandemic, the logics of television present within the videoconferencing applications that came to define communication during the pandemic, and the changing labor of television studies scholars and teachers.

Abstract This is a critical bibliographical survey of academic studies published in 2022 in the area of Italian Studies.

This paper explores the intricate use of foreshadowing devices within the opening credits of television series, unraveling the artful integration of visual, musical, and textual elements. Through detailed case studies of iconic shows such as Game of Thrones, Stranger Things, and Westworld, we dissect the deliberate choices made by creators to engage audiences from the very beginning. The analysis uncovers the narrative nuances embedded in symbols, musical scores, and textual clues, highlighting their role in setting the stage for complex and immersive storylines. Ethical considerations, methodological challenges, and the limitations of the study are also addressed. By contributing insights to television studies and narrative theory, this paper emphasizes the significance of opening credits as a canvas for storytelling in the evolving landscape of contemporary television.