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The Critical Dictionary of Film and Television Theory clearly and accessibly explains the major theoretical approaches now deployed in the study of the moving image, as well as defining key theoretical terms. This dictionary provides readers with the conceptual apparatus to understand the often daunting language and terminology of screen studies. Entries include: *audience * Homi K. Bhabha * black cinema * the body * children and media * commodification * cop shows * deep focus * Umberto Eco * the gaze * Donna Haraway * bell hooks * infotainment * master narrative * medical dramas * morpheme * myth * panopticon * pastiche * pleasure * real time * social realism * sponsorship * sport on television * subliminal * third cinema * virtual reality Consultant Editors: David Black, USA, William Urricchio, University of Utrecht, The Netherlands, Gill Branston, Cardiff University, UK ,Elayne Rapping, USA
First published in 1991, The Many Lives of the Batman is a serious
academic exploration of the cultural phenomenon called Batman.
Marketing savvy alone did not build the Batman's extraordinary
success; it encompasses a variety of audiences who have embraced
the hero through a collage of different media manifestations during
his long history. Batman's overlapping lives are illuminated in
this critical anthology, which analyses the contexts of the
character's production and reception across a wide spectrum of time
and media forms. This volume includes interviews with the
character's original creators. The other essays consider such
questions as the political economy of comic book and film
production processes; the cult status of the sixty's television
series in various fan communities; and the postmodernism of past
and present Batman films. Using the tools of cultural studies, the
book unmasks the Caped Crusader's mysterious attraction.
The Many Lives of the Batman (1991) was a pioneer within cultural
and comic book scholarship. This fresh new sequel retains the best
of the original chapters but also includes images, new chapters and
new contributions from the Batman writers and editors. Spanning 75
years and multiple incarnations, this is the definitive history of
Batman.
The Critical Dictionary of Film and Television Theory clearly and
accessibly explains the major theoretical approaches now deployed
in the study of the moving image, as well as defining key
theoretical terms.
This dictionary provides readers with the conceptual apparatus to
understand the often daunting language and terminology of screen
studies. Entries include: *audience * Homi K. Bhabha * black cinema
* the body * children and media * commodification * cop shows *
deep focus * Umberto Eco * the gaze * Donna Haraway * bell hooks *
infotainment * master narrative * medical dramas * morpheme * myth
* panopticon * pastiche * pleasure * real time * social realism *
sponsorship * sport on television * subliminal * third cinema *
virtual reality
Consultant Editors:
David Black, USA, William Urricchio, University of Utrecht, The
Netherlands, Gill Branston, Cardiff University,
UK, Elayne Rapping, USA
The Many Lives of the Batman (1991) was a pioneer within cultural
and comic book scholarship. This fresh new sequel retains the best
of the original chapters but also includes images, new chapters and
new contributions from the Batman writers and editors. Spanning 75
years and multiple incarnations, this is the definitive history of
Batman.
"Lost", created by wunderkind J.J. Abrams and aired on the US ABC
network and Sky in the UK, began in 2004 and will end after its
sixth season in 2010, hopefully with the answers to myriad
questions. This book not only offers a rich understanding of the
multi-media phenomenon that is "Lost", but is also a valuable
demonstration of how the contemporary American television industry
works. "Lost" is perfectly designed to serve the new multi-channel,
'multi-plaform' mediascape.Its cinematic visuals and complex
narrative place it above the competition, its international cast
and ostensibly worldwide locations (actually Hawaii's Oahu island)
give it global distribution. "Lost" continues to fascinate - and
mystify (that polar bear, that four-toed statue) - today's
technologically savvy 'forensic fandom', whose members mobilise
i-Pods and cell phones to watch episodes and revel in the
complexities of 'The Lost Experience'. These and many more issues
involving "Lost's" production, distribution, narrative, and
audiences are addressed by this essential book.
At the heart of one of the most successful transmedia franchises of
all time, Star Trek, lies an initially unsuccessful 1960s
television production, Star Trek: The Original Series. In Star Trek
and American Television, Pearson and Messenger Davies, take their
cue from the words of the program's first captain, William Shatner,
in an interview with the authors: "It's a television show." In
focusing on Star Trek as a television show, the authors argue that
the program has to be seen in the context of the changing economic
conditions of American television throughout the more than four
decades of Star Trek's existence as a transmedia phenomenon that
includes several films as well as the various television series.
The book is organized into three sections, dealing with firstly,
the context of production, the history and economics of Star Trek
from the original series (1966-1969) to its final television
incarnation in Enterprise (2002-2005). Secondly, it focuses on the
interrelationships between different levels of production and
production workers, drawing on uniquely original material,
including interviews with star captains William Shatner and Sir
Patrick Stewart, and with production workers ranging from
set-builders to executive producers, to examine the tensions
between commercial constraints and creative autonomy. These
interviews were primarily carried out in Hollywood during the
making of the film Nemesis (2002) and the first series of Star
Trek: Enterprise. Thirdly, the authors employ textual analysis to
study the narrative "storyworld" of the Star Trek television corpus
and also to discuss the concept and importance of character in
television drama. The book is a deft historical and critical study
that is bound to appeal to television and media studies scholars,
students, and Star Trek fans the world over. With a foreword by Sir
Patrick Stewart, Captain Jean-Luc Picard in Star Trek: The Next
Generation.
At the heart of one of the most successful transmedia franchises of
all time, Star Trek, lies an initially unsuccessful 1960s
television production, Star Trek: The Original Series. In Star Trek
and American Television, Pearson and Messenger Davies, take their
cue from the words of the program's first captain, William Shatner,
in an interview with the authors: "It's a television show." In
focusing on Star Trek as a television show, the authors argue that
the program has to be seen in the context of the changing economic
conditions of American television throughout the more than four
decades of Star Trek's existence as a transmedia phenomenon that
includes several films as well as the various television series.
The book is organized into three sections, dealing with firstly,
the context of production, the history and economics of Star Trek
from the original series (1966-1969) to its final television
incarnation in Enterprise (2002-2005). Secondly, it focuses on the
interrelationships between different levels of production and
production workers, drawing on uniquely original material,
including interviews with star captains William Shatner and Sir
Patrick Stewart, and with production workers ranging from
set-builders to executive producers, to examine the tensions
between commercial constraints and creative autonomy. These
interviews were primarily carried out in Hollywood during the
making of the film Nemesis (2002) and the first series of Star
Trek: Enterprise. Thirdly, the authors employ textual analysis to
study the narrative "storyworld" of the Star Trek television corpus
and also to discuss the concept and importance of character in
television drama. The book is a deft historical and critical study
that is bound to appeal to television and media studies scholars,
students, and Star Trek fans the world over. With a foreword by Sir
Patrick Stewart, Captain Jean-Luc Picard in Star Trek: The Next
Generation.
Between 1908 and 1913, D. W. Griffith played a key role in the
reformulating of film's narrative techniques, thus contributing to
the creation of what we now think of as the classical Hollywood
cinema. This book is the only extensive treatment of a critical
period in the history of film acting: the emergence of the
realistic "verisimilar" style in Griffith's biograph films. Roberta
Pearson shows how Griffith gradually abandoned the deliberately
affected "histrionic" acting style derived from the
nineteenth-century stage. No longer did actors mime distress by
raising their arms to heaven or clutching their heads--a subtle
facial expression, a slight change in posture would convey a
character's extreme emotions instead. Pearson makes detailed
comparisons of certain Biograph films and brings a freshness to her
analysis by closely examining contemporary journalistic writing,
acting manuals, and the recollections of actors of the time. Her
work is important for anyone interested in early cinema and
performance, and it will enliven the study of American cultural
history and mass communications.
In 2014, the UK science-fiction television series Black Mirror was
released on Netflix worldwide, quickly becoming a hit with US
audiences. Like other beloved British imports, this series piqued
Americans' interest with hints of dark comedy, clever plotlines,
and six-episode seasons that left audiences frantic for more. In
Transatlantic Television Drama, volume editors Michele Hilmes, Matt
Hills, and Roberta Pearson team up with leading scholars in TV
studies and transnational television to look at how serial dramas
like Black Mirror captivate US audiences, and what this reveals
about the ways Americans and Brits relate to each other on and off
the screen. Focusing on production strategies, performance styles,
and audience reception, chapters delve into some of the most
widely-discussed programs on the transatlantic circuit, from
ongoing series like Game of Thrones, Downton Abbey, Orphan Black,
and Sherlock, to those with long histories of transnational
circulation like Masterpiece and Doctor Who, to others whose
transnational success speaks to the process of exchange,
adaptation, and cooperation such as Rome, Parade's End,
Broadchurch, and Gracepoint. The book's first section investigates
the platforms that support British/American exchange, from
distribution partnerships and satellite providers to streaming
services. The second section concentrates on the shift in meaning
across cultural contexts, such as invocations of heritage, genre
shifts in adaptation, performance styles, and, in the case of
Episodes, actual dramatized depiction of the process of
transatlantic television production. In section three, attention
turns to contexts of audience reception, ranging from fan
conventions and fiction to television criticism, the effects of
national branding on audiences, and the role of social media in de-
or re-contextualizing fans' response to transnational programs.
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