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"Horror television programs"
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True blood : investigating vampires and Southern Gothic
As seen in HBO's True Blood, vampires have never been more edgy, gory or sexy. Since its arrival on screen in 2008, Alan Ball's adaptation of The Southern Vampire Mysteries by Charlaine Harris has exploited the creative freedoms of the HBO brand and captured a cult audience with its passionate, blood-drenched visuals and stories. From viral webisodes depicting vampires announcing themselves on TV to the steamy title sequence and the show's uninhibited use of language, sex and gore, True Blood has quickly gained status as cult TV with bite. True Blood posed the question of what would happen if vampires 'came out of the coffin' and this book considers the representations of sexuality, race and class in a series that engages directly with prejudice and civil rights. It also considers True Blood's generic roots in television horror, paranormal romance and Southern Gothic, the wider contexts of fairy tales and religion, the marketing of the series and the activities of its fans. Written for students, scholars and fans, True Blood: Investigating Vampires and Southern Gothic explores the hidden depths of True Blood's vampire bars, small town communities and haunted bayous.
Book
Gender and Contemporary Horror in Television
Horror has found a resurgence on television in the post-millennial years. This book will investigate the changing and challenging roles that gender has undergone in TV horror, examining a range of shows, including Hannibal, American Horror Story, The Walking Dead, Penny Dreadful, Supernatural, The Exorcist, iZombie, and Bates Motel.
eBook
Monstrous forms : moving image horror across media
\"It makes us jump. It makes us scream. It haunts our nightmares. So why do we watch horror? Why do we play it? What could possibly be appealing about a genre that tries to terrify us? Why would we subject ourselves to shriek-inducing shocks, or spend dozens of hours watching a television show about grotesque flesh-eating monsters? Horror offers us a connection to fears that are otherwise unspeakable, even inconceivable, so why do we seek it out? Monstrous Forms offers a theory of horror that works through the genre across a broad range of contemporary moving-image media: film, television, videogames, YouTube, gifs, streaming, virtual reality. This book analyzes our experience of and engagement with horror by focusing on its form, paying special attention to the common ground, the styles and forms that move between mediums. It looks at the ways that moving-image horror addresses its audiences, the ways that it elicits, or demands, responses from its viewers, players, browsers. Camera movement (or \"camera\" movement), jump scares, offscreen monsters--horror innovates and perfects styles that directly provoke and stimulate the bodies in front of the screen. Analyzing films including Paranormal Activity, It Follows, and Get Out, videogames including Amnesia: The Dark Descent, Layers of Fear, and Until Dawn, and TV shows including The Walking Dead and American Horror Story, Monstrous Forms argues for understanding horror through its sensational address and dissects the forms that make that address so effective. Horror, Film Studies, New Media, Digital Media, Game Studies, Television Studies, Monsters and Monstrosity, Gifs, YouTube, Netflix, Spectatorship\"-- Provided by publisher.
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Men with stakes
Men with stakes builds on recent discussions of television Gothic by examining the ways in which the Gothic mode is deployed specifically to call into question televisual realism and, with it, conventional depictions of masculinity. Released from the mandate of realism to describe the world as it is supposed to be, television Gothic calls attention to the constructedness of gender – and therefore to the possibility of re-imagining men’s agency, authority and the legitimated forms of knowledge with which men are traditionally associated (science in particular). In this context, after an overview of Gothic television’s larger history, this study discusses in some depth seven series from the last two decades: American Gothic, Millennium, Angel, Carnivàle, Point Pleasant, Supernatural and American Horror Story.
eBook
The Writing Dead
The Writing Dead features original interviews with the writers of today's most frightening and fascinating shows. They include some of television's biggest names—Carlton Cuse ( Lost and Bates Motel ), Bryan Fuller ( Hannibal, Dead Like Me, Wonderfalls, and Pushing Daisies ), David Greenwalt ( Angel and Grimm ), Gale Anne Hurd ( The Walking Dead, The Terminator series, Aliens, and The Abyss ), Jane Espenson ( Buffy the Vampire Slayer and Battlestar Galactica ), Brian McGreevy ( Hemlock Grove ), Alexander Woo ( True Blood ), James Wong ( The X-Files, Millennium, American Horror Story, and Final Destination ), Frank Spotnitz ( The X-Files and Millennium ), Richard Hatem ( Supernatural, The Dead Zone, and The Mothman Prophecies ), Scott Buck ( Dexter ), Anna Fricke ( Being Human ), and Jim Dunn ( Haven ). The Writing Dead features thought-provoking, never-before-published interviews with these top writers and gives the creators an opportunity to delve more deeply into the subject of television horror than anything found online. In addition to revealing behind-the-scene glimpses, these writers discuss favorite characters and storylines and talk about what they find most frightening. They offer insights into the writing process reflecting on the scary works that influenced their careers. And they reveal their own personal fascinations with the genre. The thirteen interviews in The Writing Dead also mirror the changing landscape of horror on TV—from the shows produced by major networks and cable channels to shows made exclusively for online streaming services such as Netflix and Amazon Studios. The Writing Dead will appeal to numerous fans of these shows, to horror fans, to aspiring writers and filmmakers, and to anyone who wants to learn more about why we like being scared.
eBook
Feeding the monster : why horror has a hold on us
Zombies want brains. Vampires want blood. Cannibals want human flesh. All monsters need feeding. Horror has been embraced by mainstream pop culture more than ever before, with horror characters and aesthetics infecting TV, music videos and even TikTok trends. Yet even with the commercial and critical success of 'The Babadook', 'Hereditary', 'Get Out', 'The Haunting of Hill House', 'Yellowjackets' and countless other horror films and TV series over the last few years, loving the genre still prompts the question: what's wrong with you? Implying, of course, that there is something not quite right about the people who make and consume it. In 'Feeding the Monster', Anna Bogutskaya dispels this notion once and for all by examining how horror responds to and fuels our feelings of fear, anxiety, pain, hunger, and power.
BOOK
Queer Horror Film and Television
More than three decades have passed since the establishment of the Islamic Republic of Iran in 1979. In that time, theories of modern revolution would suggest a retreat from ideological goals, heralding a phase of institutional development. However, Hamad Albloshi argues that Iran is unique: the current rhetoric of conservative Iranian leaders implies the regime has not left its revolutionary stage. Through an examination of the hardline conservative ideology in Iran-personified by the former president, Mahmoud Ahmadinejad-this book explores how the usual development seen in revolutions from radical discourse to pragmatic rhetoric has not been the case in Iran. Albloshi explores the evolution of the hardline conservatives and their main ideas about the nature of the Iranian regime, their position toward other groups within the system, and their approach to the international community. By doing so, he sheds new light on the group's position in the country and the ideological roots of major shifts that occurred in Iran's internal and external policies in the period between 2005 and 2013.
eBook
Agatha Christie and Gothic Horror
Agatha Christie's work has been adapted extensively resulting in transformations that are both textual and cultural. While many adaptations are best known for being quaint murder mysteries, there are many adaptations of her work that draw on horror aesthetics. This book will look at how the growth of Agatha Christie adaptations have grown increasingly darker. Of key relevance to this study is the work of Sarah Phelps, whose 'Witness for the Prosecution', 'And Then There Were None', 'Ordeal by Innocence', 'The ABC Murders' and 'The Pale Horse' all are darker than their precedents. Born out of their contemporary screen contexts, they use entrenched literary and filmic codes of Gothic horror as central reference points for audiences. Drawing on adaptation scholarship, where adapters are interpreters as well as creators, this study will look at how Agatha Christie is closer to Gothic horror than what we realise.
eBook