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This paper explores the conference theme ‘bridging the gap’ between celebrity and intellectual culture through a parallel analysis of terrorism reportage across television genres. Drawing on the British television series Atheism, the documentary series I Survived and a selection of British and Dutch television news interviews we illustrate the varying ways in which public scholars negotiate the institutional constraints underpinning national and international approaches to terrorism reportage. The final section of this paper offers a personal and professional example of ‘bridging the gap’.

© Oxford University Press 2017. All rights reserved. Within the domain of film studies, the recent surge in films depicting graphic and high-impact sex and sexualized violence has been variously classified under the terms transgressive, brutal, provocative, real sex, and extreme cinema. These classifications, however, tend to underplay the films’ sociohistorical contexts and reflexive struggle for meaning. We argue that the similarities and differences between these real or simulated sex films are determined and mediated within geographical space and historical time. But every film book has its own personal historical starting point: in our case, this is the coming together as intertexts of the real sex film Intimacy with a major academic text, The Transformation of Intimacy, and as authorial agents of a television and documentary film producer and a media academic. This book argues that the meanings we attach to “real sex” cinema are discursively constructed not only by academic experts but by filmmakers, performers, audiences, and film reviewers. Debates about the meaning of real sex cinema are best understood in dialogue, and for the first time in interdisciplinary studies, we foster “mutual understanding” and “critical extension” among new risk sociology, feminist mapping theory, feminist film studies, and film reviewers, while also embracing film/media studies concepts of production, social audiences and spectators, genre, narrative, authorship, and stars. Above all, this is an interdisciplinary book, which engages with, supports, critiques, and extends each of these professional fields of discourse, each with its own schema of filmic understanding.

The Woscape is vast, with the Doctor and his companions traversing time and space for over four decades. This makes Doctor Wlto, which first aired in 1963, the longest_running science ficLion series in television history. One referent for this chapter is thus the actual histor_ ical extent of Doctor Who, andin particular the way in which specific eras of production_always seeking new audiences-locate themselves in history and.orrirt. O* concern here is two recent series of Doctor tWho }OOS and 2006), and how they speak from within the social and political context of our time.

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