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This book examines how the iconic character Hannibal Lecter has
been revised and redeveloped across different screen media texts.
Hannibal "The Cannibal" Lecter has become one of Western
culture’s most influential and enduring models of monstrosity
since his emergence in 1981 in Red Dragon, Thomas Harris’ first
Lecter book. Lecter is now at the centre of an extensive
cross-mediated mythology, the most recent incarnation of which is
Bryan Fuller’s television program, Hannibal (NBC, 2013-2015).
This acclaimed series is the focus of Hannibal Lecter’s Forms,
Formulations, and Transformations, which examines how Fuller’s
program harnesses the iconic character to experiment with
traditional boundaries of genre, medium, taste, and narrative form.
Featuring chapters from established and emerging screen and popular
culture scholars from around the world, the book outlines how the
show operates as a striking experiment with televisual form and
formula. The book also explores how this experimentation is
embodied by the boundary-defying character, the savage
cannibalistic serial killer, practicing psychiatrist, and cultured
art enthusiast, Hannibal Lecter. The chapters in this book were
originally published as a special issue of the journal, Quarterly
Review of Film and Video.
Focusing on Netflix's child and family-orientated platform
exclusive content, this book offers the first exploration of a
controversial genre cycle of dark science-fiction, horror, and
fantasy television under Netflix's 'Family Watch Together TV' tag.
Using a ground-breaking mix of methods including audience research,
interface, and textual analysis, the book demonstrates how Netflix
is producing dark family telefantasy content that is both reshaping
child and family friendly TV genres and challenging earlier
broadcast TV models around child-appropriate, family viewing. It
illuminates how Netflix encourages family audiences to "watch
together" through intergenerational dynamics that work on and
offscreen. Chapters explore how this 'Netflixication' of family
television developed across landmark examples including Stranger
Things, A Series of Unfortunate Events, The Dark Crystal: Age of
Resistance and even Squid Game. The book outlines how Netflix is
consolidating a new dark family terrain in the streaming sector
which is unsettling older concepts of family viewing leading to
considerable audience and critical confusion around target
audiences and viewer expectations. This book will be of particular
interest to upper level undergraduates, graduates and scholars in
the fields of television studies, screen genre studies, childhood
studies, and cultural studies.
This book examines how the iconic character Hannibal Lecter has
been revised and redeveloped across different screen media texts.
Hannibal "The Cannibal" Lecter has become one of Western culture's
most influential and enduring models of monstrosity since his
emergence in 1981 in Red Dragon, Thomas Harris' first Lecter book.
Lecter is now at the centre of an extensive cross-mediated
mythology, the most recent incarnation of which is Bryan Fuller's
television program, Hannibal (NBC, 2013-2015). This acclaimed
series is the focus of Hannibal Lecter's Forms, Formulations, and
Transformations, which examines how Fuller's program harnesses the
iconic character to experiment with traditional boundaries of
genre, medium, taste, and narrative form. Featuring chapters from
established and emerging screen and popular culture scholars from
around the world, the book outlines how the show operates as a
striking experiment with televisual form and formula. The book also
explores how this experimentation is embodied by the
boundary-defying character, the savage cannibalistic serial killer,
practicing psychiatrist, and cultured art enthusiast, Hannibal
Lecter. The chapters in this book were originally published as a
special issue of the journal, Quarterly Review of Film and Video.
The Uncanny Child in Transnational Cinema illustrates how global
horror film depictions of children re-conceptualised childhood at
the turn of the twenty-first century. By analysing an influential
body of transnational horror films, largely stemming from Spain,
Japan, and the US, Jessica Balanzategui shows how millennial
uncanny child characters resist embodying growth and futurity,
unravelling concepts to which the child's symbolic function is
typically bound. The book proposes that complex cultural and
industrial shifts at the turn of the millennium resulted in these
potent cinematic renegotiations of the concept of childhood. By
demonstrating both the culturally specific and globally resonant
properties of these frightening visions of children who refuse to
grow up, the book outlines the conceptual and aesthetic mechanisms
by which long entrenched ideologies of futurity, national progress,
and teleological history started to waver at the turn of the
twenty-first century.
Monstrous Beings of Media Cultures examines the monsters and
sinister creatures that spawn from folk horror, Gothic fiction, and
from various sectors of media cultures. The collection illuminates
how folk monsters form across different art and media traditions,
and interrogates the 21C revitalization of “folk” as both a
cultural formation and aesthetic mode. The essays explore how
combinations of vernacular and institutional creative processes
shape the folkloric and/or folkoresque attributes of monstrous
beings, their popularity, and the contexts in which they are
received. While it focuses on 21C permutations of folk monstrosity,
the collection is transhistorical in approach, featuring chapters
that focus on contemporary folk monsters, historical antecedents,
and the pre-C21st art and media traditions that shaped enduring
monstrous beings. The collection also illuminates how folk monsters
and folk “horror” travel across cultures, media, and time
periods, and how iconic monsters are tethered to yet repeatedly
become unanchored from material and regional contexts.
Celebrities depend upon fans to sustain their popularity and
livelihood, and fans are happy to oblige. With social media they
can follow their favorite (or least favorite) celebrities’ every
move, and get glimpses into their lives, homes, and
behind-the-scenes work. Fans interact with celebrities now more
than ever, and often feel that they have a claim on their time,
attention, and accountability. In Fame and Fandom, the contributors
examine this tumultuous dynamic and bring together celebrity
studies and fan studies like never before. In case studies
including Supernatural, Harry Styles, YouTube influencers, film
location sites, Keanu Reeves, and celebrities as fans, readers find
new approaches to fan/celebrity encounters and parasocial
relationships. This is the go-to volume on the symbiotic
relationship between fame and fandom. Â
To say that children matter in Steven Spielberg's films is an
understatement. Think of the possessed Stevie in Something Evil
(TV), Baby Langston in The Sugarland Express, the alien-abducted
Barry in Close Encounters, Elliott and his unearthly alter-ego in
E.T, the war-damaged Jim in Empire of the Sun, the little girl in
the red coat in Schindler's List, the mecha child in A.I., the
kidnapped boy in Minority Report, and the eponymous boy hero of The
Adventures of Tintin. (There are many other instances across his
oeuvre). Contradicting his reputation as a purveyor of 'popcorn'
entertainment, Spielberg's vision of children/childhood is complex.
Discerning critics have begun to note its darker underpinnings,
increasingly fraught with tensions, conflicts and anxieties. But,
while childhood is Spielberg's principal source of inspiration, the
topic has never been the focus of a dedicated collection of essays.
The essays in Children in the Films of Steven Spielberg therefore
seek to address childhood in the full spectrum of Spielberg's
cinema. Fittingly, the scholars represented here draw on a range of
theoretical frameworks and disciplines-cinema studies, literary
studies, audience reception, critical race theory, psychoanalysis,
sociology, and more. This is an important book for not only
scholars but teachers and students of Spielberg's work, and for any
serious fan of the director and his career.
Misfits are often confused with outcasts. Yet misfits rather find
themselves in-between that which fits and that which does not. This
volume is interested in this slipperiness of misfits and explores
the blockages and the promises of such movements, as well as the
processes and conditions that produce misfits, the means that
enable them to undo their denomination as misfits, and the
practices that turn those who fit into misfits, and vice versa.
This collection of essays on misfit children produces transmissible
motions across and engages in scholarly conversations that unfold
betwixt and between in order to make rigid concepts twist and
twirl, and ultimately fail to fit.
To say that children matter in Steven Spielberg's films is an
understatement. Think of the possessed Stevie in Something Evil
(TV), Baby Langston in The Sugarland Express, the alien-abducted
Barry in Close Encounters, Elliott and his unearthly alter-ego in
E.T, the war-damaged Jim in Empire of the Sun, the little girl in
the red coat in Schindler's List, the mecha child in A.I., the
kidnapped boy in Minority Report, and the eponymous boy hero of The
Adventures of Tintin. (There are many other instances across his
oeuvre). Contradicting his reputation as a purveyor of 'popcorn'
entertainment, Spielberg's vision of children/childhood is complex.
Discerning critics have begun to note its darker underpinnings,
increasingly fraught with tensions, conflicts and anxieties. But,
while childhood is Spielberg's principal source of inspiration, the
topic has never been the focus of a dedicated collection of essays.
The essays in Children in the Films of Steven Spielberg therefore
seek to address childhood in the full spectrum of Spielberg's
cinema. Fittingly, the scholars represented here draw on a range of
theoretical frameworks and disciplines-cinema studies, literary
studies, audience reception, critical race theory, psychoanalysis,
sociology, and more. This is an important book for not only
scholars but teachers and students of Spielberg's work, and for any
serious fan of the director and his career.
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