Previously on. TV Series in the Third Golden Age of Television. (Tentative Title)

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FRAME. Revista de Cine de la Biblioteca de la Facultad de Comunicación.
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In the first decade of 21th century, television series landscape has changed drastically, a change characterized by a shift of the creative work from film industry to television, which has attracted a great deal of interest from the audience. That change is what has been known as the Third Golden Age of Television.

Proof of this is the establishment by the HBO of the notion of quality television in the late '90s, sponsored by the Trinity of geniuses (The three Davids): David Simon (The Wire), David Chase (The Sopranos) and David Milch (Deadwood). HBO produced without the pressure of the audience and potential advertisers. Another important aspect of the series are the documentary aesthetic (The Shield, 24, or Friday Night Live), the comedy made with a single camera (The Office, Arrested Development or Curb Your Enthusiasm), or those in which women are the protagonists (Desperate Housewives, Grey's Anatomy and Sex and the City) and its derivatives (Weeds, Saving Grace, Damages, United States of Tara, ...), the consolidation of authors (Joss Whedon, JJ Abrams), series based on great performances (The West Wing or The Sopranos), the resurgence of science-fiction (Heroes or series of Sci-Fi/SyFy Channel), its remakes (Battlestar Galactica or V), or consolidation of it franchises (Stargate, CSI) not to mention shows like Dexter, Mad Men, Breaking Bad, The Closer, Burn Notice and Nip / Tuck or Lost, a mass phenomenon called to be the cult series of the decade.

This quality change has occurred not only in North American production but also in the British production. The resurgence of the Whoniverse (Dr. Who, Torchwood, The Sarah Jane Adventures), historical series (The Tudors), comedies (The It Crowd), series for teenagers (Skins), and transnational productions (Life on Mars, U.S.A. and Spanish adaptations) or the emergence of artists such as Ricky Gervais (The Office, Extras).

We invite those who wish to collaborate in the implementation of an e-book with ISBN, as a supplement for FRAME magazine ( on the television series in the first decade of the 21th century, to be published in the first quarter of 2011. We seek collaborations to explore the series of this decade from different perspectives, which can be monographic or transversal studies, and are not limited to the above series. The topics for proposals include, but are not restricted to, the following:

• Celebrity and stardom.
• Cultural Studies.
• Family.
• Fandom and participatory culture.
• Gender (eg sci-fi, drama, horror, etc.).
• Globalization.
• History.
• Intertextuality and self-reference.
• Magic and technoscience.
• Merchandising.
• Narrative.
• Philosophy.
• Policy.
• Production and Industry in relation to television series.
• Religion and morality.
• Representations of gender, ethnicity and sexuality.
• The concept of authorship.
• Torture and terrorism.
• Time travels.
• Tribalism and multiculturalism.
• TV quality and cultural value.

Proposals can be submitted in English, Spanish, Italian and Catalan. The publication rules are those that appear in For any questions or suggestions, contact Miguel A. Pérez-Gómez (

Submission of articles and proposals:

1. An abstract of no more than 300 words may be in Word, WordPerfect or RTF, in this order:

a) Author (s), b) affiliation, c) email address, d) title of abstract, e) body of abstract. The email subject must be: Proposal for Previously on. The document must be sent in Times New Roman 12. Refrain from using a special text format.

2. Abstracts submission deadline: June 13, 2010. Acceptance will be notified before the end of June 2010.

3. The final extension of the chapter shall be about 6000-8000 words (length negotiable) including bibliography (following Harvard Anglo-APA quotation system). This also must be submitted in Word, WordPerfect or RTF. The deadline for submitting papers is December 12, 2010.

4. Doubts, proposals and complete chapters will be sent by email to Miguel A. Pérez-Gómez (

5. The chapters will be reviewed by both the editor of the volume and members of the editorial board of the magazine.

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