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Kim Akass Nationality CURRICULUM VITAE Personal and Contact Details: Name: Kim Akass Nationality: British Education: 1999: MA in Film and Television Studies (Merit) University of Westminster, London. 1994: BA (Hons) in Film Studies (and English) 2:1 University of North London, London. Professional Bodies and Teaching Achievements: 2001- SHEA fellowship (17753). Employment History: Sept 2019 Professor, Radio, Television and Film, Rowan University Sept 2014 – Head of the Media Research Group and Senior Lecturer Film and TV (Creative Arts) August 2019 University of Hertfordshire School of Creative Arts, College Lane Hatfield Hertfordshire AL10 9AB Sept 2011 – Lecturer Film and TV (Creative Arts) Sept 2014 University of Hertfordshire School of Creative Arts, College Lane Hatfield Hertfordshire AL10 9AB Sept 2011 - Senior Research Fellow Film and TV Mar 2012 University of Hertfordshire School of Creative Arts, College Lane Hatfield Hertfordshire AL10 9AB April 2011 – Managing Editor (EUscreen) 1 Oct 2011 Royal Holloway University of London Department of Media Arts Egham Hill EGHAM TW20 0EX Jan 2010 – Visiting Lecturer (Television History) March 2011 Royal Holloway University of London Department of Media Arts Egham Hill EGHAM TW20 0EX Sept 2009 - Visiting Lecturer (MA Television History and Practice) March 2010 Dept of History of Art and Screen Media Birkbeck, University of London Malet Street Bloomsbury London WC1E 7HX Aug 2007 - Research Fellow (TV Drama), July 2010 Manchester Metropolitan University, MMU Cheshire, Crewe Campus, Crewe Green Road, Crewe, Cheshire, CW1 5DU 2006- Director of Media Citizens. This is a company that specialises in the provision of online support for education and media literacy. Jan-Apr Visiting Lecturer in Film Studies 2007 Royal Holloway University of London Department of Media Arts Egham Hill EGHAM TW20 0EX 2002-2006 Senior Lecturer in Film Studies Department of Humanities, Arts and Languages, London Metropolitan University 166-220 Holloway Road London N7 8DB. 1994-2002 Visiting Lecturer in Film Studies University of North London 166-220 Holloway Road London N7 8DB 2000-2001 Visiting Lecturer in Film Studies Royal Holloway University of London 2 Publications: Refereed Articles in Journals: ‘HBO and the Aristocracy of TV Culture : affiliations and legitimatising television culture, post-2007’ (with Janet McCabe), Mise au Point, ISSN 2261-9623 (2018) The Show That Refused To Die: The Rise and Fall Of AMC’s The Killing, Continuum: Journal of Media and Cultural Studies, 29.5 (2015). INA journal article ‘Ce n’est pas de la télévision, c’est de la télévision de qualité : quand HBO redéfinit la TV’ (with Janet McCabe), INA Editions, 2014. ISBN: 978-2-86938- 226-8. ‘Motherhood and the media under the Microscope: The backlash against feminism and the Mommy Wars’ in Imaginations: Journal of Cross Cultural Image Studies, Special Issue on Motherhood, September 2013, ISSN - 1918-8439. 6343 words. ‘The Gendered Politics of a Global Recession: A News Media Analysis’ in Studies in the Maternal, Volume 4 Issue 2, October 2012. 7173 words. ‘Motherhood and Myth-making: Despatches from the front-line of the US mommy wars’, Feminist Media Studies Commentary and Criticism section, 12.1 March 2012. 1,700words ‘The Book of Ruth’, Popmatters onine journal: special edition on Six Feet Under (November 2011) 1,200words. (2009) ‘Who Said Crime Doesn’t Pay’ Introduction to Dossier FoxCrime and the CSI franchise in Italy in Critical Studies in Television. 4.1 (Spring 2009): pp 84-86. Co- author Janet McCabe. (2006) ‘Feminist Television Criticism: Notes and Queries,’ Critical Studies in Television. 1: 1 (Spring 2006): pp 108-120. Co-author Janet McCabe. (2004) “Throwing the Baby Out with the Bath Water: Miranda and the Myth of Maternal Instinct on Sex and the City” Feminist Television Studies: The Case for HBO. Ed. Lisa Johnson. The Scholar and Feminist Online. 3: 1 (Fall). Single authored. http://www.barnard.edu/sfonline/hbo/mccabe_01.htm Single authored: (Forthcoming) From Here to Maternity: Representations of Motherhood in the Media, (Bloomsbury Academic. London). 3 Chapters in Edited Books: (2018) “Sex and the City: The Finales” in Finale: Considering the Ends of Television Series: From Howdy Doody to Girls. Douglas L Howard and David Bianculli (eds.), Syracuse University Press, Syracuse: New York. 2,500words. (2017) “Adieu Carmela Soprano! Lessons from the HBO Mobster Wife on TV Female Agency and Neoliberal (Narrative) Power” in Television Antiheroines : Women Behaving Badly in Crime and Prison Drama, Milly Buonanno (ed.), Bristol Intellect: London 7,000words Co-author Janet McCabe. (2011) ‘”Blabbermouth Cunts”; Or, Speaking in Tongues: Narrative Crises for Women in The Sopranos and Feminist Dilemmas’, in The Essential Sopranos Reader (University Press of Kentucky). 4,450words Co-author Janet McCabe. ISBN: 9780813130125 (2010) ‘What Has HBO Ever Done for Women?: Towards a New Feminist TV Criticism’, in Autorenserien: die Neuerfindung des Fernsehens / Auteur Series: The Re-invention of Television Ed Christoph Dreher, Stuttgart: Merz & Solitude Co-author Janet McCabe. ISBN: 978-3937982298 (2010) The Best of Everything: Dilemmas of the Working Girl in Mad Men in Mad Men: Dream Come True TV Ed Gary Edgerton, (I.B. Tauris). 177-193. 5,000words. Co- author Janet McCabe. ISBN: 978-1848853799 (2010) ‘Postscript: Little Britain USA’ in Reading Little Britain: Yeah But No But Contemporary Television Comedy. Ed Sharon Lockyer, I.B.Tauris, pp 209-214. 1.600words. Single authored. ISBN: 9781845119393 (2008) ‘It’s Not TV, It’s HBO’s Original Programming: Producing Quality TV’ in Its Not TV: Watching HBO in the Post-Television Era, Eds. Marc Leverette, Brian Ott and Cara Buckley, Routledge, 4,600words. Co-author Janet McCabe. ISBN: 9780415960380 (2008) ‘Six Feet Under – In Requiem,’ in The Essential HBO Reader. Eds. Gary R. Edgerton and Jeffrey P. Jones. University of Kentucky Press, pp 71-81, 3,000words Co-author Janet McCabe. ISBN: 9780813124520 (2008) ‘What Has HBO Ever Done For Women?’ in The Essential HBO Reader. Eds. Gary R. Edgerton and Jeffrey P. Jones. University of Kentucky Press, pp 303-314, 3,000words. Co-author Janet McCabe. ISBN: 9780813124520 (2007) ‘Married to the Mob: Separation and Divorce in The Sopranos,’ in After Intimacy: The Culture of Divorce in the West since 1789. Eds. Nicholas White and Karl Leydecker. Peter Lang.pp 257-275, 7,000words. Co-author Janet McCabe. ISBN: 978- 3-03910-1436 (2007) ‘CSI at the bfi …’ in Reading CSI: Crime TV Under the Microscope. Ed. Michael Allen. I.B. Tauris, pp 73 – 78. 1,700words. Single authored. ISBN: 978- 1845114282 4 (2007) ‘Analysing Fictional Television Genres’, in Media Studies: Key Issues and Debates. Ed. Eoin Devereux. Sage Publications, pp 283 – 301, 6,240words. Co-author Janet McCabe. ISBN: 978-1412929837 (2006) ‘A Perfect Lie: Visual (Dis)Pleasures and Policing Femininity in Nip/Tuck,’ in Reading Makeover Television: Realities Remodelled. Ed. Dana Heller. I.B. Tauris pp 119-132, 5,520words. Co-author Janet McCabe. ISBN: 978-1845113308 (2006) ‘What Has Carmela Ever Done For Feminism?: Carmela Soprano and the Post- feminist Dilemma,’ in Reading The Sopranos: Hit TV from HBO. Ed. David Lavery. I.B. Tauris. pp.39-55. 6,774words. Co-author Janet McCabe. ISBN: 978-1845111212 (2006) “You Motherfucker: Al Swearengen’s Oedipal Dilemma” in Lavery, D. Ed, Reading Deadwood. (I.B. Tauris, July 2006) pp 22-33. 3,885words. Single authored. ISBN: 978-1845112219 (2002) ‘Beyond the Bada Bing!: Negotiating Female Narrative Authority in The Sopranos,’ in This Things of Ours: Investigating The Sopranos. Ed. David Lavery. Wallflower Press/Columbia University Press. pp.146-161. 7,998words. Co-author Janet McCabe. ISBN: 978-1903364444 Editorial Boards: Founding member and co-editor, Critical Studies in Television: The International Journal of Television Studies (SAGE). Managing Editor of CSTonline.tv (www.cstonline.tv) Series editor, with Janet McCabe, for ‘Reading Contemporary Television’, I.B. Tauris. Titles: Reading The Sopranos: Hit TV From HBO (ed David Lavery, 2006); Reading Deadwood: A Western to Swear By (ed David Lavery, 2007); Third Wave Feminism and Television: Jane Puts It In a Box (ed Merri Lisa Johnson, 2007); Reading Makeover Television: Realities Remodeled (ed Dana Heller, 2007), Reading 24: TV Against the Clock (ed Steven Peacock, 2007), Reading C.S.I.: Crime TV Under the Microscope (ed Michael Allen, 2007). Reading Lost (ed Roberta Pearson 2008), Queer TV (Samuel A. Chambers 2009), Reading Little Britain: Yeah But No But Contemporary Television Comedy (ed Sharon Lockyer 2010). Mad Men: Dream Come True TV (ed Gary Edgerton, 2010). Loving The L Word: The Complete Series in Focus (ed Dana Heller, 2013). New Dimensions of Doctor Who (ed. Matt Hills, 2013). Reading Asian Television Drama: Crossing Borders and Breaking Boundaries (ed. Jeongmee Kim , 2013). Edited Books: (2012) Reading Ugly Betty (I.B. Tauris. London) 90,000words. Co-editor Janet McCabe. (2007) Contemporary Quality TV: American Television and Beyond. I.B. Tauris. London. 105,000words. Including co-written ‘Introduction: The Quality TV Debate’ 5 6,044words pp. 1-11; and ‘Sex, Swearing and Respectability: Courting Controversy, HBO’s Original Programming and Producing Quality TV’ 7,500words pp. 62-76. Co- editor Janet McCabe. ISBN: 9781845115104 (2006) Reading Desperate Housewives: Beyond the White Picket Fence. I.B. Tauris. London. 80,000words. Including, co-written introduction, ‘Airing the Dirty Laundry: Introduction’ pp. 1-14, 5,051words; and single authored, ‘‘Still Desperate After All These Years: The Post-Feminist Mystique and Desperate Housewives’ pp. 48-58, 4,054words. Co-editor Janet McCabe. ISBN: 1845112202 (2006) Reading The L Word: Outing Contemporary Television. I.B. Tauris. London. 80,000words. Including, co-written, ‘Preface,’ pp. xxv-xxxi. 2,310words; and dialogue with McCabe, ‘What Is A Straight Girl To Do: Ivan’s Serenade, Kit’s Dilemma,’ pp. 143-156. 5,141words. Co-editor Janet McCabe. ISBN: 978-1845111793 (2005) Reading Six Feet Under: TV To Die For. I.B. Tauris. 70,000words. Including, co- written, ‘“Why do people have to die?” “To make contemporary television drama important, I guess”: Introduction’, pp.1-18.
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