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This collection highlights the diverse ways comics and graphic
novels are used in English and literature classrooms, whether to
develop critical thinking or writing skills, paired with a more
traditional text, or as literature in their own right. From
fictional stories to non-fiction works such as biography/memoir,
history, or critical textbooks, graphic narratives provide students
a new way to look at the course material and the world around them.
Graphic novels have been widely and successfully incorporated into
composition and creative writing classes, introductory literature
surveys, and upper-level literature seminars, and present unique
opportunities for engaging students' multiple literacies and
critical thinking skills, as well as providing a way to connect to
the terminology and theoretical framework of the larger disciplines
of rhetoric, writing, and literature.
This collection highlights the diverse ways comics and graphic
novels are used in English and literature classrooms, whether to
develop critical thinking or writing skills, paired with a more
traditional text, or as literature in their own right. From
fictional stories to non-fiction works such as biography/memoir,
history, or critical textbooks, graphic narratives provide students
a new way to look at the course material and the world around them.
Graphic novels have been widely and successfully incorporated into
composition and creative writing classes, introductory literature
surveys, and upper-level literature seminars, and present unique
opportunities for engaging students' multiple literacies and
critical thinking skills, as well as providing a way to connect to
the terminology and theoretical framework of the larger disciplines
of rhetoric, writing, and literature.
Drawing on critical analysis of film, the horror genre, the Gothic,
and Stephen King scholarship, this book considers Andy Muschietti's
IT Chapter One (2017) and IT Chapter Two (2019) on multiple levels:
as film (both as individual films and through their interconnected
narrative), as adaptation, and as a barometer of the horror film's
popularity among fans. Key points of consideration include the
significance of the fictional town of Derry as a traditionally
Gothic "bad place," the role of 1980s nostalgia in these two films,
the complex navigation of memory and trauma, gender representation,
queer representation, and the return of the repressed. The
terrifying figure of Pennywise the clown is central to this
analysis, including consideration of performance, costuming, and
significance within the larger landscape of the "scary clown"
popular culture trope, and through comparison to Tim Curry's iconic
performance in Tommy Lee Wallace's 1990 miniseries. This Devil's
Advocate contextualizes Muschietti's films within the larger
landscape of King's literary and popular culture influence, as well
as the debate surrounding "elevated" horror and the "horror boom"
of the late 2010s.
This book explores fictional representations and narrative
functions of animal characters in animated and live-action film and
television, examining the ways in which these representations
intersect with a variety of social issues. Contributors cover a
range of animal characters, from heroes to villains, across a
variety of screen genres and formats, including anime, comedy,
romance, horror, fantasy, and science fiction. Aesthetic features
of these works, along with the increased latitude that
fictionalized narratives and alternative worlds provide, allow
existing social issues to be brought to the forefront in order to
effect change in our societies. By incorporating animal figures
into media, these screen narratives have gained the ability to
critique actions carried out by human beings and explore dimensions
of both the human/animal connection and the intersectionality of
race, culture, class, gender, and ability, ultimately teaching
viewers how to become more human in our interactions with the world
around us. Scholars of film studies, media studies, and animal
studies will find this book of particular interest.
Dark Forces at Work examines the role of race, class, gender,
religion, and the economy as they are portrayed in, and help
construct, horror narratives across a range of films and eras.
These larger social forces not only create the context for our
cinematic horrors, but serve as connective tissue between fantasy
and lived reality, as well. While several of the essays focus on
“name” horror films such as IT, Get Out, Hellraiser, and
Don’t Breathe, the collection also features essays focused on
horror films produced in Asia, Europe, and Latin America, and on
American classic thrillers such as Alfred Hitchcock’s Psycho. Key
social issues addressed include the war on terror, poverty, the
housing crisis, and the Time’s Up movement. The volume grounds
its analysis in the films, rather than theory, in order to explore
the ways in which institutions, identities, and ideologies work
within the horror genre.
This book offers a comprehensive, academic and detailed study of
the works of James Cameron, whose films include successful
productions such as the first two Terminator films (1984-91),
Aliens (1986), Titanic (1997), and Avatar (2009), but also lesser
known films such as Piranha 2: The Spawning (1981), The Abyss
(1989), and True Lies (1994), and a series of documentaries on the
depths of the ocean or on the tomb of Christ. Cameron's major
productions have an immense and enduring popularity throughout the
globe and have attracted both public and critical attention. This
volume investigates several distinct areas of Cameron's works and
addresses the different approaches and topics invited by the
multidimensionality of the subject itself: the philosophical, the
artistic, the socio-cultural and the personal. The methodologies
adopted by the contributors differ significantly from each other,
thus offering the reader a variegated and compelling picture of
Cameron's oeuvre. Contrary to the numerous volumes published in the
past on the subject, each chapter offers specific case studies that
have been previously ignored, or only partially mentioned, by other
scholars.
Bringing together a multidisciplinary group of scholars from around
the world, Netflix’s Chilling Adventures of Sabrina: Hell’s
Under New Management presents perspectives on the television show
that situates it within contemporary discourses of genre, form,
historical place, ideology, and aesthetics. The essays collected by
editors Cori Mathis, Stephanie A. Graves, and Melissa Tyndall
illustrate that the series is not simply interesting in the context
of its status as an extension of Riverdale's narrative or as a
reimagining of the popular 1990s sitcom Sabrina the Teenage Witch.
Instead, with its unique blend of the Gothic, horror, and melodrama
to approach the coming-of-age narrative, the series is a complex,
enduring work and a significant part of the teen television canon.
This thought-provoking essay collection provides multiple entry
points into television studies for scholars and students alike.
A sprawling epic that encompasses many worlds, parallel and
alternate timelines, and the echoes between these disconnects,
Stephen King's Dark Tower series spans the entirety of King's
career, from The Gunslinger (limited edition 1982; revised in 2003)
to The Wind Through the Keyhole (2012). The series has two
distinctive characteristics: its genre hybridity and its
interconnection with the larger canon of King's work. The Dark
Tower series engages with a number of distinct and at times
dissonant genre traditions, including those of Arthurian legend,
fairy tales, the fantasy epic, the Western, and horror. The Dark
Tower series is also significant in its cross-references to King's
other works, ranging from overt connections like characters or
places to more subtle allusions, like the sigil of the Dark Tower's
Crimson King appearing in the graffiti of other realities. This
book examines these connections and genre influences to consider
how King negotiates and transforms these elements, why they matter,
and the impact they have on one another and on King's work as a
whole.
H.P. Lovecraft, one of the twentieth century's most important
writers in the genre of horror fiction, famously referred to Edgar
Allan Poe as both his "model" and his "God of Fiction." While
scholars and readers of Poe's and Lovecraft's work have long
recognized the connection between these authors, this collection of
essays is the first in-depth study to explore the complex literary
relationship between Lovecraft and Poe from a variety of critical
perspectives. Of the thirteen essays included in this book, some
consider how Poe's work influenced Lovecraft in important ways.
Other essays explore how Lovecraft's fictional, critical, and
poetic reception of Poe irrevocably changed how Poe's work has been
understood by subsequent generations of readers and interpreters.
Addressing a variety of topics ranging from the psychology of
influence to racial and sexual politics, the essays in this book
also consider how Lovecraft's interpretations of Poe have informed
later adaptations of both writers' works in films by Roger Corman
and fiction by Stephen King, Thomas Ligotti, and Caitlin R.
Kiernan. This collection is an indispensable resource not only for
those who are interested in Poe's and Lovecraft's work
specifically, but also for readers who wish to learn more about the
modern history and evolution of Gothic, horror, and weird fiction.
Unlike anything currently available, A Critical Companion to Tim
Burton is a comprehensive, up-to-date analysis of all the works of
one of the world's most renowned directors and artists. Written by
some of the top scholars working in fields as diverse as
philosophy, film and media studies, and literature, all chapters of
this book illuminate for both scholars and fans alike the entire
artistic career of Burton, giving attention to both his early works
and his global blockbusters.
H.P. Lovecraft, one of the twentieth century's most important
writers in the genre of horror fiction, famously referred to Edgar
Allan Poe as both his "model" and his "God of Fiction." While
scholars and readers of Poe's and Lovecraft's work have long
recognized the connection between these authors, this collection of
essays is the first in-depth study to explore the complex literary
relationship between Lovecraft and Poe from a variety of critical
perspectives. Of the thirteen essays included in this book, some
consider how Poe's work influenced Lovecraft in important ways.
Other essays explore how Lovecraft's fictional, critical, and
poetic reception of Poe irrevocably changed how Poe's work has been
understood by subsequent generations of readers and interpreters.
Addressing a variety of topics ranging from the psychology of
influence to racial and sexual politics, the essays in this book
also consider how Lovecraft's interpretations of Poe have informed
later adaptations of both writers' works in films by Roger Corman
and fiction by Stephen King, Thomas Ligotti, and Caitlin R.
Kiernan. This collection is an indispensable resource not only for
those who are interested in Poe's and Lovecraft's work
specifically, but also for readers who wish to learn more about the
modern history and evolution of Gothic, horror, and weird fiction.
Popular American fiction has now secured a routine position in the
higher education classroom despite its historic status as
culturally suspect. This newfound respect and inclusion have almost
certainly changed the pedagogical landscape, and Teaching Tainted
Lit explores that altered terrain. If the academy has historically
ignored, or even sneered at, the popular, then its new
accommodation within the framework of college English is
noteworthy: surely the popular introduces both pleasures and
problems that did not exist when faculty exclusively taught
literature from anestablished "high" canon. How, then, does the
assumption that the popular matters affect teaching strategies,
classroom climates, and both personal and institutional notions
about what it means to study literature? The essays in this
collection presume that the popular is here to stay and that its
instructive implications are not merely noteworthy,but richly
nuanced and deeply compelling. They address a broad variety of
issues concerning canonicity, literature, genre, and theclassroom,
as its contributors teach everything from Stephen King and Lady
Gaga to nineteenthcentury dime novels and the 1852bestseller Uncle
Tom's Cabin. It is no secret that teaching popular texts fuels
controversies about the value of cultural studies, the alleged
relaxation of aestheticstandards, and the possible "dumbing down"
of Americans. By implicitly and explicitly addressing such
contentious issues, these essays invite a broader conversation
about the place of thepopular not only in higher education but in
the reading lives of all Americans.
Pushing Daisies was one of the most successful network television
shows in recent history. This collection of 10 essays addresses the
quirky, off-beat elements that made the show a popular success, as
well as fodder for scholarly inquiry. Divided into three main
sections, the essays address the themes of difference, placement of
the series within a larger philosophical context and the role of
gender on the show. A consideration of Pushing Daisies' unique
style and aesthetics is a consistent source of interest across
these international and interdisciplinary scholarly critiques.
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