Film and television studies

This edited volume examines the historical, political, cultural, and aesthetic implications of re-visiting Restoration Spain (1874-1931) in television costume dramas produced since 2000. Contributors analyze, from different theoretical approaches and disciplinary perspectives, the appeal that the late nineteenth and early twentieth centuries hold for twenty-first-century Spanish audiences, as well as for international viewers who consume these programs through new media platforms. Themes and issues explored include: the production of televisual heritage, representations of period technologies, evolving constructions of gender, hybridization of television genres, and television as historian. Expanding the scope of inquiry in Spanish media studies, this collection seeks to bring Spain into wider discussions of media and historical representation and visual and material culture in Europe, the Americas, and beyond.

Time is a very cinematic concept that has been extensively explored by Nolan throughout his films such as “Inception” (2010), or “Interstellar” (2014), addressing this issue based  on perception. Nolan explains that he perceives time as defining of our existence, being a complex concept difficult to explain and understand. And he considers the video camera as the first instrument that can see and manipulate time. For this reason he treats time in his films in a conceptual or structural way, but in “TENET” (2020), he also wanted to carry out a more physical reflection where the characters themselves have to deal with time manipulations. “TENET” is a film whose logic is centered on the concept of inversion, of the inverse entropy of an object or person, a very cinematic concept according to Nolan. This concept is mirrored throughout the film, where sequences are revisited and experienced by the spectator in reverse and not inverted simultaneously. So this research studies the representation of the concept of inversion in “TENET”. Inversion is part of the reflection on time, developed by Nolan since “Memento” (2000). The objectives are to understand: the treatment of time in the film; the audiovisual translation of inversion through the combination of image, dialogue, sound and the soundtrack; the importance of Ludwig Göransson's soundtrack in translating the concept of inversion; and the way the composer created the soundtrack with the director. The methodology was to analyze the film in its entirety, and to do an interpretative classification of the film in order to analyze it and problematize the representation of the inversion. As well as analyzing: interviews with the director, and the recently published monograph by Tom Shone written with Nolan; and theinterviews of the composer with Rolling Stone on the musical representation of inversion.

This chapter executes a reading of the character of Walter White / Heisenberg ('Breaking Bad') through John Stuart Mill's 'On Liberty'.  This chapter pays attention to issues related to Mill's harm principle, freedom, individuality, individual sovereignty, individual spontaneity, collective mediocrity, authority, the tyranny of the majority, legislated morality, justice, and punishment.

Over the past decades, fashion has acquired centrality in social and economic processes for its capacity to penetrate and influence both cultural production and identitarian practices. The proliferation of media objects such as fashion films, makeover TV shows, fashion blogs and vlogs has shown how prolific the encounter between fashion and audiovisual media can be. The aim of this special issue is to explore this intersection and, consequently, the cross fertilization between fashion studies and media studies, with particular regard to audiovisual media, such as cinema, television, advertising and digital video. The essays interrogate how the combination of fashion and the moving-image enables us to reflect upon the ubiquitous presence of fashion in our media-saturated landscape, and at the same time upon the ubiquitous presence of media in socio-cultural practices and industrial processes such as fashion. Questioning the encounter between audiovisual media and fashion brings an elective affinity to light. If fashion is central to cinema and television and gives rise to a wide range of new genres and formats, it also impacts on the forms of representation and expression of identity and the body via personal and social media, according to the prevailing customs and tastes of our place and time. This encounter is a terrain of experimentation with new trends in the media experience – ones that rely on performativity and the enhancement of the viewer/user’s agency. After all, audiovisual media are similarly about constructing a fictional (and entertaining) world and actively and creatively inhabiting it as an essential part of the actual world.

This book posits an interconnection between the ways in which contemporary television serials cue cognitive operations, solicit emotional responses, and elicit aesthetic appreciation.
The chapters explore a number of questions, including: How do the particularities of form and style in contemporary serial television engage us cognitively, emotionally, and aesthetically? How do they foster cognitive and emotional effects such as feeling suspense, anticipation, surprise, satisfaction, and disappointment? Why and how do we value some serials while disliking others? What is it about the particularities of serial television form and style, in conjunction with our common cognitive, emotional, and aesthetic capacities, that accounts for serial television’s cognitive, socio-political, and aesthetic value and its current ubiquity in popular culture?
This book will appeal to postgraduates and scholars working in television studies as well as film studies, cognitive media theory, media psychology, and the philosophy of art.

Satellite television centres in Nigeria have grown with the popularity of foreign football, especially international competitions. This study identifies the social significance, especially the uses and abuses of satellite television centres in Makurdi town. Also, the study identifies the strategy that is effective in curbing the abuses of satellite television viewing centres in Makurdi town. Using a survey of two hundred and twenty (220) respondents who patronise satellite television viewing centres in Makurdi, the study finds among other things that: satellite television viewing centres are used to advance sporting interests, however they are abused when criminals use these centres as meeting places and hideouts. Furthermore, the study finds that the dominant use of satellite television viewing centres to televise football matches leads to neglect of local football teams and this has far reaching implications. The study recommends that proprietors should regulate entry and the poli...

The promotional image for The Dressmaker (Jocelyn Moorhouse 2015) is a long-shot of the central character, Tilly, adorned in 1950s Dior-styled couture, standing poised to conquer rural Australia with her Singer sewing machine at her feet. This image of a strong willed, independent white female undertaking a journey in rural Australia recurred across Australian screens in various iterations in 2015. Spanning multiple genres, The Dressmaker (Jocelyn Moorhouse), Mad Max: Fury Road (George Miller), Looking for Grace (Sue Brooks) and The Daughter (Simon Stone) – all released in 2015 – depict daughters who possess a strong sense of self and agency, as well as a desire to explore something other, between home and hinterland. The daughters embark on journeys through continually re-written landscapes that evoke family dramas, settler narratives and national traumas. This is the next generation of daughters, remapping the journeys of the daughters that have punctuated the Australian screen from its earliest period.

Interactivity with users represents a key feature of transmedia storytelling. This research revolves around the way viewer engagement influences the content of an interactive Web series-namely, Si fueras tú. The series used a strategy based on social networks to encourage viewer participation in the decisions of the protagonist. Research uses a mixed study methodology that includes (1) an analysis of turning points, (2) an analysis of characters, (3) content analysis based on viewers' comments on social media, and (4) in-depth interviews with project managers to illuminate the process of building the transmedia strategy. Findings confirm that audience participation influences the content of the fiction series, albeit in a limited way, with the main aim being to retain the audience as part of the marketing strategy.

Manufacturing dissent in the name of history, its instrumentalisation for political purposes and bloodshed over its competing versions are the hallmarks of the Hindu Muslim schism prevalent in India. A recurring feature in Indian historiography is its rupture in the form of riots leading to human casualty. In this context, through an attempt to read the 1992 Mumbai riots as a quagmire of power politics, I would like to propose that a popular film like Mani Ratnam’s Bombay stabilises the secularist notion of unity in diversity amidst voices of dissent. The top down memory of trauma and hatred which percolates from the records of ‘official’ history is neutralised to a certain extent by the bottom up memory induced by an ‘imagined’ account which loiters in the popular psyche of generations. The film thus becomes a striking example of a neutraliser of memory. But a more nuanced reading shows how the director has skilfully projected the principle of equivalence from among the multiplicity of gazes to the axis of male gaze in order to conceal the play of ideologies.

This report updates and substantially extends the 2017 report, Go West! Bristol's Film and Television Industries. It revises all the statistical information, including the number of companies. The report analyses the major changes that have occurred since 2017, notably Bristol being awarded a UNESCO City of Film status; the arrival of Channel 4, which located one of its two regional 'creative hubs' in Bristol ;and the impact of the COVID-19 pandemic on the screen sector. There are revised profiles of BBC - placing the Natural History Unit in BBC Studios - and of Aardman Animations as the two principal 'anchor' firms. The report also contains numerous case studies of Bristol's independent companies, including several of the new ones that have emerged since 2017. There is a substantailly enlarged section on natural history filmmaking, examining Bristol's global role as the 'Green Hollywood'. The report argues that Bristol, in terms of company numbers and variety, is the second largest screen production cluster after London and that the screen sector plays a vital role in the city's economy and culture.

This paper explores the recent documentary, aired on the American Heroes Network, showing polychromatization of black-and-white World War One military footage. The film's apocalyptic character and effect on current popular culture trends will be analyzed.

Il volume analizza la storia della televisione italiana delle origini a partire da una prospettiva sociale. Tramite l’utilizzo sia di dati statistici sugli ascolti televisivi, conservati presso gli archivi RAI, sia di memorie degli spettatori di quegli anni, rintracciate in diari e autobiografie, questo libro propone una storia del pubblico televisivo attraverso i mutamenti della società del “miracolo”. Quali sono i programmi televisivi entrati a far parte dell’immaginario del nostro paese? Quali erano le dinamiche di visione, privata e collettiva, messe in atto dalla TV delle origini? Ribaltando la prospettiva gerarchica della tradizione di studi sulla televisione italiana, il libro rivisita la TV degli anni cinquanta e sessanta a partire da un’analisi dei suoi pubblici.

Good Girls is an original, comedy-crime drama created by Jenna Bans. It premiered on February 26th, 2018 on NBC as a mid-season entry.

From publicly-available sources, I determined (1) the creator’s track record of success and (2) the originality of the story’s premise.

Using a proprietary algorithm, I determined the size of the pilot episode script’s semantic network.

With these three variables, I identified 18 comparable dramatic series that appeared on the four major broadcast networks in the last ten seasons.

Based on my analysis, I predict that (1) Good Girls will not achieve a full first season, i.e. 20+ episodes (2) Good Girls has only a 1-in-6 chance of being renewed for a second season and (3) if renewed, the season will fall well short of 20 episodes.

Results of an online survey suggest that heavy binge-watching might be in part socially motivated. Among a sample of US college students, heavy binge-watchers were more likely to be opinion leaders and to experience Fear of Missing Out (FOMO) than regular binge-watchers or non-binge-watchers. They also reported higher levels of parasocial engagement with the shows' characters than other viewers. Contrary to common beliefs, heavy binge-watching did not come at the cost of decreased social engagement. Quite the opposite: heavy binge-watchers reported spending significantly more time in interactions with friends and family on a daily basis than non-binge-watchers. Heavy binge-watching was also modestly associated with a few negative outcomes (loss of sleep and decrease in productivity).

E-book completo disponível em: https://www.benditas.art.br/colecao-narrativas/

Esta é a primeira parte de um estudo em dois volumes apresentado por Maíra Bianchini, no qual a autora reflete sobre os desenvolvimentos históricos que abriram caminho para a criação e o crescimento acelerado, no contexto atual, dos serviços de vídeo sob demanda em streaming (ou seja, em fluxo de mídia pela internet), considerando os elos da produção, da distribuição e da exibição do mercado audiovisual.

Ao longo dos dois volumes, a autora analisa como o posicionamento estratégico destas empresas na criação de conteúdos originais avançou inicialmente na produção de séries televisivas, buscando a inserção no mercado audiovisual que mais cresceu em termos de reconhecimento cultural e comercial neste início de século XXI, enquanto as ações de distribuição e de exibição destes empreendimentos foram construídas a partir de uma evolução no segmento do vídeo doméstico, profundamente afetado pelas transformações tecnológicas da digitalização dos meios de comunicação. A Parte I apresenta noções básicas relativas à área da economia do audiovisual e às características deste mercado, bem como explora as particularidades dos segmentos da TV aberta e da TV por assinatura. A obra se concentra na história da televisão dos Estados Unidos, país predominante no estabelecimento das lógicas e da dinâmica competitiva que regem o mercado das séries ficcionais televisivas em âmbito global.

Three disparate yet related things happened in November 2008 that suggest it is apposite to revisit a film that was controversial when released but which provides a
sophisticated reading of London in the early 21st century. First, Dirty Pretty Things (Frears 2002) was aired on Channel 4. Second, ID cards started to be issued to overseas nationals and airport workers. Third, London Mayor Boris Johnson called for an amnesty for all British migrants working illegally. Soon after the film was released the frenzied moral panic about asylum seekers was peaking, until knocked off the tabloid agenda by the Iraq war. The film was controversial when released and still provokes strong positive and negative reactions. It weaves together with great aplomb complex elements of the material, imagined, live, surveiled and (immigration) policed city. The inner London location filming adds credibility which counters the somewhat implausible, though tense and engaging plot. Cinema has long influenced our perception of the modern city even to the extent of producing the city (Clarke 1997 and Shiels & Fitzmaurice 2001). Many reviews of Dirty Pretty Things have been written but I want to concentrate, first on some misconceptions and then on its neo noir (Schwartz 2005) credentials, which affect the manner in which it portrays divergent yet proximate
aspects of the city big condition in a globalised neoliberal political economy.

This 121 page document is the collection of TEN resources having to do with audiovisual lexicon, both film and TV.

Some have been vastly restructured and updated, others were only reformatted for easy use.

This document is a pedagogical tool when working or learning within the field of audiovisual art or technology. The choice has been mostly collected and edited as a monolingual data bank, apart from the eighth resource that I personally only upgraded and that is bilingual.

I also integrated the technical credit list of one film in order to provide a real and closed set of terms corresponding to all the professions and jobs intervening in the production of a major film.

Apart from the editing, upgrading and reformatting I did for all resources, my main contribution has been the collecting and bringing together of various resources freely available when I did that work.

"Le trasformazioni del linguaggio della tv dalle origini all'epoca dell'intermedialità. Analisi delle tipologie di programmi intermediali più significativi e delle loro interazioni col pubblico.

The transformations of television language from the origins to the age of intermediality. Analysis of the most interesting categories of intermedial television programmes and of their interaction with the audience."

FRA: Qu’est-ce que le binge-watching ou Netflix ? Pourquoi existerait-il une doute quant à sa place au sein du XXIème siècle ? À quel siècle, alors, appartient le type d’immersion que cette plateforme et cette pratique culturelle génèrent ?
Étudiant de Master en Études Culturelles, pour la fin de mon première année j'ai présenté ce travail qui est la base de mon mémoire. En tant que phénomène en évolution perpétuelle, j'ai décidé de consacré une troisième année à la recherche de ce sujet qui me passionne. Bien que j'envisage plusieurs changements par rapport à ce que j'ai rédigé en 2018 l'esprit original est encore là : si vous avez de commentaires, ne hésitez pas à vous exprimer : alonso.perezfragua@hotmail.com

ESP: ¿Que es Netflix y el binge-watching?, ¿por qué surgiría la duda sobre su lugar en el presente siglo? ¿A qué época pertenece el tipo de inmersiòn que ofrece esta plataforma y esta práctica mediática? Como parte de mi primer año de la maestría en Estudios Culturales presenté este trabajo como la base de mi tesis. Dado el hecho de que Netflix es un fenémeno en constante evolución, he decidido dedicar un tercer año exclusivamente al desarrollo de este trabajo. Aunque habrá diversos cambios con respecto a lo que plantea este primer documento, la escencia de mi investigación permanecerá. Si tienen comentarios, estaré atentos a su comunicación: alonso.perezfragua@hotmail.com

Reviewed at: https://www.jstor.org/stable/10.13169/arabstudquar.43.2.0189
This book offers a much-needed focus on Palestine solidarity films, supplying a critical theoretical framework whose intellectual thrust is rooted in the challenges facing scholars censored for attempting to rectify and reverse the silencing of a subject matter about which much of the world would remain uninformed without cinematic and televisual mediation. Its innovative focus on Palestine solidarity films spans a selected array of works which began to emerge during the 1970s, made by directors located outside Palestine/Israel who professed support for Palestinian liberation. Visualizing the Palestinian Struggle analyzes Palestine solidarity films hailing from countries such as Canada, the United Kingdom, Egypt, Iran, Palestine/Israel, Mexico, and the United States. Visualizing the Palestinian Struggle is an effort to insist, constructively, upon a rectification and reversal of the glaring and disproportionate minimization and distortion of discourse critical of Zionism and Israeli policy in the cinematic and televisual public sphere.

Análisis de Fargo: la serie La fragilidad del dominio a través de los personajes femeninos Resumen: En el presente trabajo se analizará la segunda temporada de la serie Fargo en base a algunos de los personajes femeninos más destacables. El punto de unión entre todos ellos será la fragilidad y cambios en el poder en relación a los acontecimientos que se les irán presentando. Para ello se tendrá en cuenta todos los elementos fílmicos disponibles para remarcar el aumento o reducción de dominio. TRABAJO FIN DE GRADO Apellidos y nombre: Talegón Martínez, Ignacio Correo electrónico:

Tenendo un approccio in parte storiografico, e in parte di analisi industriale, l’obbiettivo che questo testo si prefigge è quello di, da una parte, rendere evidenti quelli che sono stati i motivi che hanno reso Netflix un’impresa di successo contro ogni previsione, dall'altra come questi motivi la rendano diversa da qualsiasi altro progetto simile che si è lanciato (o è in procinto di farlo) in questo specifico tipo di mercato.

The publication of the sixth volume of the official history of the BBC, Pinkoes and Traitors: The BBC
and the nation 1974‐1987 by Jean Seaton is reviewed. The book is found to contain numerous
errors, mis‐statements of facts and significant omissions rendering the book an unreliable source
for those researching either the history of the BBC or the impact of the BBC on Britain’s political
and cultural life. Seaton’s major errors and omissions are catalogued as an aid to future researchers
and alternative, more reliable, secondary sources identified.
KEYWORDS
BBC, HISTORY, BROADCASTING, TELEVISION, RADIO, BBC LOCAL RADIO, BBC NATURAL HISTORY UNIT, BRITISH
HISTORY, ASA BRIGGS, JEAN SEATON, HUW WHELDON, ALASDAIR MILNE, PLAY FOR TODAY, THE HITCHHIKER’S
GUIDE TO THE GALAXY, GARDENER’S QUESTION TIME, THE MOUSETRAP, HOWARDS’ WAY, THE THORN BIRDS,
LIFE ON EARTH, NEWSNIGHT, PANORAMA, I, CLAUDIUS, BOYS FROM THE BLACKSTUFF, EDGE OF DARKNESS, BLUE
PETER, BAGPUSS, THE WOMBLES, NATIONWIDE, GRANDSTAND, POT BLACK, THE GENERATION GAME, MATCH OF
THE DAY, BLACK AND WHITE MINSTREL SHOW, EASTENDERS, STARSKY AND HUTCH, MARK TULLY, GRAHAME C
GREENE, CHRISTOPHER ANDREW, TIMOTHY GARTON ASH, TOM BOWER, PAT LOUGHREY, DAVID MCKITTRICK,
BRYCE MCCRIRICK, KELVIN MACKENZIE, GILES OAKLEY, NAOMI SARGANT, RONNIE STONHAM, DAVID
ATTENBOROUGH, DERYCK COOKE, DERRICK AMOORE, SALLY DOGANIS, TIM EGGAR, AUSTEN KARK, SARA
NATHAN, STEWART PURVIS, STEWART PARKER, PHILLIP WHITEHEAD, TONY SMITH, ALASDAIR MILNE, AUBREY
SINGER, ANNA HOME, HUMPHREY BURTON MARK DAMAZER, FRANCESCA KIRBY‐GREEN, DONALD GRATTAN,
ALAN YENTOB, BROADCASTING STANDARDS COUNCIL

Rituparno Ghosh was one of the rare film makers in India who recognized the power of silence both as a text and a narrative. Gosh made conscious efforts to communicate the music of silence in many of his films. These sincere attempts knitted the complex human desires, passions and emotions in his film. This chapter investigates the power of silence in the films of Rituparno Gosh. Here silence is not only a filmic apparatus, but also a major emotional element in his films, particularly in the portrayal of human relationship.

Abstract
This paper will discuss the difficulties that have and will continue in defining the medium of television. Despite the terms purest definition, to see at a distance, the term has for many years been used to describe an entertainment medium which is part of the mass media landscape. No longer does the medium or associated devices have differing names; rather the single term, television, is used to define all associated activities and devices. The term was first discussed in the context of the medium of television, in a paper presented by Constantin Perskyi, at the International Electricity Congress during 1900. Almost thirty years later, as television broadcast tests commenced in Britain and the United States, there was still confusion and debate as to whether television was the correct term to use for the new medium. It was described as a novel concept in the Encyclopaedia Britannica. The New York Times asked its readers opinion on names for the new medium.
The contemporary misconception of defining television is made evident when its definition is reviewed within dictionaries. The Dictionary of Media Studies (2006) has four definitions listed for television and the Australian Concise Oxford Dictionary (2008) has three. This multipurpose approach in defining television has created confusion, which will arguably increase as television broadcasters attempt to expand distribution through the Internet, and the line between mass media institutions continues to blur. The evolution of television as a platform, institution and popular cultural has historically created difficulties in defining television. The increase of media convergence is exacerbating the difficulty in defining, what is television?

[AMAZON LINK BELOW TO BOOK ITSELF -- TOC and book summary in downloadable .doc]      Our instincts—for food, sex, or territorial protection— evolved for life on the savannah 10,000 years ago, not in today’s world of densely populated cities, technological innovations, and pollution. We now have access to a glut of larger-than-life objects, from candy to pornography to atomic weapons—that gratify these gut instincts with often-dangerous results. Animal biologists coined the term “supernormal stimuli” to describe imitations that appeal to primitive instincts and exert a stronger pull than real things, such as soccer balls that geese prefer over eggs. Evolutionary psychologist Deirdre Barrett applies this concept to the alarming disconnect between human instinct and our created environment, demonstrating how supernormal stimuli are a major cause of today’s most pressing problems, including obesity and war. However, Barrett does more than show how unfettered instincts fuel dangerous excesses. She also reminds us that by exercising self-control we can rein them in, potentially saving ourselves and civilization.

Italian filmmaker Federico Fellini (1920-1993) is one of the most renowned figures in world cinema. Director of a long list of critically acclaimed motion pictures, including La strada, La dolce vita, 8½, and Amarcord, Fellini's success helped strengthen the international prestige of Italian cinema from the 1950s onward. Often remembered as an eccentric auteur with a vivid imagination and a penchant for quasi-autobiographical works, the carnivalesque, and Rubenesque women, Fellini's inimitable films celebrate the creative potential of cinema as a medium and also provide thought-provoking evocations of various periods in Italian history, from the years of fascism to the age of Silvio Berlusconi's media empire.

In Making a Film Fellini discusses his childhood and adolescence in the coastal town of Rimini, the time he spent as a cartoonist, journalist, and screenwriter in Rome, his decisive encounter with Roberto Rossellini, and his own movies, from Variety Lights to Casanova. The director explains the importance of drawing to his creative process, the mysterious ways in which ideas for films arise, his collaborations with his wife, Giulietta Masina, his thoughts on fascism, Jung, and the relationship between cinema and television. Often comic, sometimes tragic, and rife with insightful comments on his craft, Making a Film sheds light on Fellini's life and reveals the motivations behind many of his most fascinating movies.

Available in its entirety for the first time in English, this volume contains the complete translation of Fare un film, the authoritative collection of writings edited and reworked by Fellini and initially published by Giulio Einaudi in 1980. The text includes a new translation of the Italo Calvino essay "A Spectator's Autobiography," an introduction by Italian film scholar Christopher B. White, and an afterword by Fellini's longtime friend and collaborator Liliana Betti.

"Reality Television" has little to do with reality and everything to do with television form and content. "Reality TV" takes the reality television phenomenon to be a significant movement within documentary and factual programming. This book analyses new and hybrid genres including observational documentaries, talk shows, game shows, docu-soaps, dramatic reconstructions, law and order programming and twenty-four/seven formats such as "Big Brother" and "Survivor," These programs, both popular with audiences and heavily debated in the media; are at the center of heated debates. These discussions focus on tabloidization, media ethics, voyeurism and the representation of the real. Through detailed case studies, this book breaks new ground by linking two major themes together: the production of realism and its relationship to revelation. It addresses 'truth' telling, confession and the production of knowledge about the self and its place in the world within forms that produce new configurations of social and media space.

This work updates critical considerations about heritage cinema and their audiences through the lens of the latest period adaptations of much-adapted novelist Jane Austen: Love and Friendship (2016), Pride and Prejudice and Zombies (2016), Emma. (2020) and the miniseries Sanditon (2019). Through close readings of scenes, Chapter One examines, yet discards the concept of "post-heritage" cinema (Claire Monk) in favour of "postmodern" cinema as useful to understand the industry and the aesthetics of these strikingly self-conscious and intertextual takes on the Austen film adaptation genre. It does so by exploring and updating questions such as the auteurship of the adapter, the postmodern hyperreality of the artificial reconstructions of the Regency era, or the influence of teen movies on Austen adaptations.
Chapter Two then looks at postmodernism in these adaptations from the angle of the audience, by presenting the results of a small-scale qualitative study of their reception inside Facebook and Twitter Austen fan communities. It confronts these direct illustrations of fans' behavior to critical discourses about them, including through much-needed considerations of fans' paradoxical relation to historical accuracy and to sexual explicitness in Austen productions (featuring a lot of wet white shirts!).
Ultimately, this thesis seeks to encourage scholars to keep up with complex and mutant fan cultures by studying them from the inside and updating their observations regularly, rather than making assumptions about them or projecting their own viewing practices onto them.

Throughout his career, Tim Burton has created imaginative films which depict
the social ‘outcast’ in ways critical of contemporary society. This analysis
focuses on how Burton’s cinematic treatment of the ‘grotesque’ – including its
elements of macabre, comic, ridiculous, strange parody and satire (Thomson
1972) – shaped this figure to mirror mainstream American culture in the form
of a Gothic or ‘cultural body’ often metaphorical of popular lore, and which
appears in the various recognisable forms of a persecuted monster. Beginning
with a brief examination of the grotesque, the essay follows with an analysis of
Burton’s reification of this literary concept, using the films Beetlejuice (1988),
Edward Scissorhands (1990), Batman Returns (1992) and Miss Peregrine’s
Home for Peculiar Children (2016). It suggests that Burton’s manifestation
of the grotesque offers universal and multifaceted implications, subverting the
homogeneity of American suburbia.

Crimes, investigations, questions, surprises and emotions. Let’s dive into this world with Raymond Reddington (James Spader) who will take us on a journey full of mystery and excitement. The Blacklist, is a typical American crime thriller network series of the 21st century, premiered on NBC on September 23 in 2013. In this paper, I will be analyzing the narrative structure of Joen Bokenkamp’s creation, its progression and evolution throughout the first season only. Narrative complexity, dominant types and styles has changed by the time, so this series does not present an exception of its generation. However it offers plenty of interesting points to talk about and a rich structure to analyze.

While the monstrous feminine of Hollywood is available transhistorically over much of cinema across the world, the female monster of Hindi horror cinema remains ignored and merits serious academic exploration. Much of the widely accepted modern art-horror theory as applied to the horror genre is predicated upon Julia Kristeva’s notion of the
‘abject’ and the Freudian notion of the ‘return of the repressed’. While Creed (1993, 2002) exemplifies that horror texts indeed serve to illustrate abjection, her work reduces all forms of the monstrous feminine in the horror genre to fear of the abject mother. I posit that there is no universal archetype of the abject mother, and the maternal as an abject figure does not find resonance in the Hindi horror genre. Instead, I propose that a sub-genre, which I term the ‘Monstrous “Other” Feminine’ narrative, within the Hindi horror cinema engendered in the 1980s, presents an interstitial phantasmal female monster with wanton sexual
desire and gaze as the abject ‘other’. Through narrative closures, traditional gendered perspectives are reinforced, normative femininity is deified and the monstrous other feminine, commanding sovereign female desire and controlling gaze, is annihilated. Exorcism becomes the means
not only of expelling the interstitial phantasmal being but also of punishing and disciplining the female body for unrestrained desire and look.

Pay fiction experienced a production boom in Europe between 2008 and 2017. The output of original productions in Europe’s five main markets (France, Italy, Germany, Spain, and the UK) leapt from 8 series in 2008 to 47 in 2017 – a rise of +490% (as shown in the previous chapter). This growth is based on a change in the national production paradigms, which are increasingly modelled on “quality TV” from the US (Thompson 1997). Unsurprisingly, most of the titles travel very well across borders, both within and outside Europe. These series are much more export-friendly than what the national public and private (free) TV producers traditionally used to produce (Scaglioni and Barra 2013).
This renaissance of sorts in European scripted pay TV production is also bound up with major changes in the industry that affect how European fic- tion productions begin to circulate. Besides pay TV growth in all the main markets studied, it is also about the arrival of the global SVOD giants based in the US (Netflix and Amazon Prime Video), the explosion of European OTT platforms, and the ever-greater take-up of streaming technology by the more traditional networks (Lobato 2019). All these factors have led to both a certain uniformity in productions across Europe and an increased transnational circulation of these products. This chapter maps out the de- velopment of the transnational circulation of European series in the five sample countries from two distinct yet complementary standpoints. First, we explore the circulation of pay fiction in Europe from an export perspec- tive; second, we focus on how those countries have gone about importing European scripted pay fiction in this context

In this chapter, stereotypes associated with seven ethnic categories
are reconstructed from scenes and characterisations on Singapore film and television. These stereotypes are mainly described as inadequate representations for understanding the ethnic Other in multiethnic Singapore. The persistence of these stereotypes in spite of Singapore’s multicultural aspirations can be attributed to their commercial value, particularly in the context of audience demand for light entertainment that is immediately gratifying at least with respect to multiethnic insecurities. However, given their resilience and commercial value, stereotypes can be harnessed in ways that jolt audiences out of the comfort of their taken-for-granted and easy-to-manage world of ethnic caricatures. This would require the kind of technical, social, and artistic knowledge and skill that any “renaissance city” should aim to nurture and promote among its citizenry. In fact, this is the kind of social and cultural vibrancy that, set up in dialectical relationship with the official policy-making and
institution-building efforts of officialdom, is necessary for giving
substance, depth, and critical relevance to the mostly emblematic and loudly celebratory, but correspondingly abstract and hollow, principle of multiracialism in Singapore."

In this study we develop an empirical model to explain failure rates of new television series. Specifically, we test the ability of three factors to predict the success of new dramatic series appearing on 31 cable networks over the last 10 years. Those factors are the originality of the story, the track record of its creator(s), and the cognitive complexity of its pilot episode script—all of which are known well in advance of a network’s decision to greenlight a new series. As predicted, we find that all three variables—both individually and in combination—strongly predict the success rate of new dramatic series in their first two seasons.