Welcome to our book review site go-pdf.online!
You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
Difficult Women on Television Drama
Difficult Women on Television Drama analyses select case studies from international TV dramas to examine the unresolved feminist issues they raise or address: equal labor force participation, the demand for sexual pleasure and freedom, opposition to sexual and domestic violence, and the need for intersectional approaches. Drawing on examples from The Killing, Orange is the New Black, Big Little Lies, Wentworth, Outlander, Westworld, Being Mary Jane, Queen Sugar, Vida, and other television dramas with a focus on complex female characters, this book illustrates how female creative control in key production roles (direct authorship) together with industrial imperatives and a conducive cultural ...
Recreational Terror
In Recreational Terror, Isabel Cristina Pinedo analyzes how the contemporary horror film produces recreational terror as a pleasurable encounter with violence and danger for female spectators. She challenges the conventional wisdom that violent horror films can only degrade women and incite violence, and contends instead that the contemporary horror film speaks to the cultural need to express rage and terror in the midst of social upheaval.
Camp TV of The 1960s
Camp TV of the 1960s offers a comprehensive understanding of all of the many forms camp TV took during that critical decade. In reevaluating the history of camp on television, the authors reconsider the infantilized conceptualization of sixties television, which has generally been characterized as the creative and cultural ebb between the 1950s Golden Age of television and the networks' shift to "relevance" in the early 1970s. Encompassing contributions from a broad range of media and television scholars that (re)consider programs like Batman, The Monkees, The Addams Family, Bewitched, F Troop, The Beverly Hillbillies, and Rowan & Martin's Laugh-In, chapters closely examine beloved 1960s Ame...
Speculative Television and the Doing and Undoing of Religion
This book explores the concept that, as participation in traditional religion declines, the complex and fantastical worlds of speculative television have become the place where theological questions and issues are negotiated, understood, and formed. From bodies, robots, and souls to purgatories and post-apocalyptic scenarios and new forms of digital scripture, the shows examined – from Buffy the Vampire Slayer to Westworld – invite their viewers and fans to engage with and imagine concepts traditionally reserved for religious spaces. Informed by recent trends in both fan studies and religious studies, and with an emphasis on practice as well as belief, the thematically focused narrative posits that it is through the intersections of these shows that we find the reframing and rethinking of religious ideas. This truly interdisciplinary work will resonate with scholars and upper-level students in the areas of religion, television studies, popular culture, fan studies, media studies, and philosophy.
Difficult Women on Television Drama
"Difficult Women on Television Drama analyses select case studies from international TV dramas to examine the unresolved feminist issues they raise or address: equal labor force participation, the demand for sexual pleasure and freedom, opposition to sexual and domestic violence, and the need for intersectional approaches. Drawing on examples from The Killing, Orange is the New Black, Big Little Lies, Wentworth, Outlander, Westworld, Being Mary Jane, Queen Sugar, Vida, and other television dramas with a focus on complex female characters, this book illustrates how female creative control in key production roles (direct authorship) together with industrial imperatives and a conducive cultural...
Autobiographical Writing Across the Disciplines
Autobiographical Writing Across the Disciplines reveals the extraordinary breadth of the intellectual movement toward self-inclusive scholarship. Presenting exemplary works of criticism incorporating personal narratives, this volume brings together twenty-seven essays from scholars in literary studies and history, mathematics and medicine, philosophy, music, film, ethnic studies, law, education, anthropology, religion, and biology. Pioneers in the development of the hybrid genre of personal scholarship, the writers whose work is presented here challenge traditional modes of inquiry and ways of knowing. In assembling their work, editors Diane P. Freedman and Olivia Frey have provided a rich s...
Post-heritage Perspectives on British Period Drama Television
Drawing upon the existing scholarship of period drama and emerging research into new media ecologies, instigated by television streaming services such as Netflix, this book establishes a critical framework for understanding the representation of nationhood and cultural identity in television drama. By formalising the term ‘post-heritage’ the book proposes a methodology which recognises the interplay of traditional and innovative elements within period drama productions. The book applies this critical perspective to popular British period drama productions from the 2010s, with examples including The Crown, the ‘society dramas’ of Upstairs Downstairs and Downton Abbey, Steven Knight’...
Apocalyptic Dread
In Apocalyptic Dread, Kirsten Moana Thompson examines how fears and anxieties about the future are reflected in recent American cinema. Through close readings of such films as Cape Fear, Candyman, Dolores Claiborne, Se7en, Signs, and War of the Worlds, Thompson argues that a longstanding American apocalyptic tradition permeates our popular culture, spreading from science-fiction and disaster films into horror, crime, and melodrama. Drawing upon Kierkegaard's notion of dread—that is, a fundamental anxiety and ambivalence about existential choice and the future—Thompson suggests that the apocalyptic dread revealed in these films, and its guiding tropes of violence, retribution, and renewal, also reveal deep-seated anxieties about historical fragmentation and change, anxieties that are in turn displaced onto each film's particular "monster," whether human, demonic, or eschatological.
21st-Century Narratives of Maternal Ambivalence
Motherhood has long been depicted in reductive or limited terms. At once valorized and configured as the ultimate end-goal for socially condoned femininity, maternity is also highly mediated and scrutinized. This has resulted in a representational tradition that persists in imagining maternal subjects in rigid binary terms, pitting good mothers against bad. Largely in response to this repressive schema, recent years have marked the emergence of a diverse range of visual and literary texts about motherhood. While such texts vary in style, genre and form, this book argues that they are unified in their efforts to publicize embodied maternal experience and foreground maternal ambivalence, a concept that is best understood as a mother’s capacity to simultaneously love and hate her child. Although maternal ambivalence has become an increasingly popular topic of study with maternal scholars, its articulation within contemporary representations and narratives has yet to be adequately theorized and addressed, and this book aims to fill this gap.
Cinematic Digital Television
Chris Comerford explores cinematic digital television as an artistic classification and an academic object of study, and illuminates the slippage in definitions of previously understood media forms. The growth of television as an artistic, informative medium has given rise to shifts in the aesthetic style of the programmes we watch, and this book outlines these shifts along with the contemporary debates and critical theory surrounding them. Comerford looks at the forms and aesthetics of television, the production standards influencing streaming television and the agency of audiences, and provides case studies of key TV shows illustrating these shifts, including Twin Peaks: The Return, WandaVision, Hacks and Russian Doll. Navigating the levels of production and reception in cinematic digital television, the book uses film-inspired TV as a lightning rod for understanding our narrative screen media landscape and the classifications we use to negotiate it. As an essential reading for both scholars and students of media and television studies, this book provides a much-needed consideration of the changing landscape of television.
