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From Doctor Who in the 1960s, to the more recent Heroes and Lost a
select group of television series with strong elements of fantasy
has achieved cult status. Focusing on eight such series, this work
analyzes what makes these programs unique, and what they have in
common. Examination of the interaction between the series'
creators, studios and fans provides further insight into the
series' lasting impact. Included are assessments of the strategies
used to promote the series' appeal; an explanation of "transmedia"
storytelling and its influence on the television fantasy genre;
evaluations of how viewers have shaped cult texts and how greater
audience acceptance encouraged creators to develop challengingly
complex long-form dramas; and descriptions of changes within
broadcasting that have enabled "telefantasy" to transcend niche
status and enjoy prominence and popularity.
This book examines the contrasting forms neo-noir has taken on
screen, asking what prompts our continued interest in tales of
criminality and moral uncertainty. Neo-noir plots are both familiar
and diverse, found in a host of media formats today, and now span
the globe. Yet despite its apparent prevalence-and increased
academic attention-many core questions remain unanswered. What has
propelled noir's appeal, half a century on after its supposed
decline? What has led film-makers and series-creators to rework
given tropes? What debates continue to divide critics? And why are
we, as viewers, so drawn to stories that often show us at our
worst? Referencing a range of films and series, citing critical
work in the field-while also challenging many of the assumptions
made-this book sets out to advance our understanding of a subject
that has fascinated audiences and academics alike. Theories
relating to gender identity and neo-noir's tricky generic status
are discussed, together with an evaluation of differing comic
inflections and socio-political concerns, concluding that, although
neo-noir is capable of being both progressive and reactionary, it
also mobilises potentially radical questions about who we are and
what we might be capable of.
This book examines the contrasting forms neo-noir has taken on
screen, asking what prompts our continued interest in tales of
criminality and moral uncertainty. Neo-noir plots are both familiar
and diverse, found in a host of media formats today, and now span
the globe. Yet despite its apparent prevalence-and increased
academic attention-many core questions remain unanswered. What has
propelled noir's appeal, half a century on after its supposed
decline? What has led film-makers and series-creators to rework
given tropes? What debates continue to divide critics? And why are
we, as viewers, so drawn to stories that often show us at our
worst? Referencing a range of films and series, citing critical
work in the field-while also challenging many of the assumptions
made-this book sets out to advance our understanding of a subject
that has fascinated audiences and academics alike. Theories
relating to gender identity and neo-noir's tricky generic status
are discussed, together with an evaluation of differing comic
inflections and socio-political concerns, concluding that, although
neo-noir is capable of being both progressive and reactionary, it
also mobilises potentially radical questions about who we are and
what we might be capable of.
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