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From The Prisoner in the 1960s to the more recent Heroes and Lost, a group of television series with strong elements of fantasy have achieved cult status. Focusing on eight such series, this work analyzes their respective innovations and influences. Assessing the strategies used to promote "cult" appeal, it also appraises increased opportunities for interaction between series creators and fans and evaluates how television fantasy has utilized transmedia storytelling. Notable changes within broadcasting are discussed to explain how challenging long-form dramas have emerged, and why telefantasy has transcended niche status to enjoy significant prominence and popularity.
This book explores the relatively new genre of ‘Quality Telefantasy’ and how it has broadened TV taste cultures by legitimating and mainstreaming fantastical content. It also shows how the rising popularity of this genre marks a distinct and significant development in what kinds of TV are culturally dominant and critically regarded. By expanding and building on the definition of US Quality TV, this book brings together a number of popular science fiction, fantasy and horror TV series, including Game of Thrones, The Walking Dead and Westworld, as case studies which demonstrate the emergence of the Quality Telefantasy genre. It looks at the role of technology, including internet recap culture and subscription video on demand distribution, in Quality Telefantasy’s swift emergence, and analyses its success internationally by considering series created outside the US like Kingdom (South Korea, Netflix) and Dark (Germany, Netflix). The book argues that Quality Telefantasy series should be considered a part of the larger Quality TV super-genre, and that the impact they are having on the global TV landscape warrants further investigation as it continues to evolve. This is a valuable text for students and scholars studying or undertaking research in the areas of television studies, new media and pop-cultural studies.
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This book argues that over the twentieth and twenty-first centuries, the cinema in Britain became the site on which childhood was projected, examined, and understood. Through an analysis of these projections; via case studies that encompass early cinema, pre and post-war film, and contemporary cinema; this book interprets the child in British cinema as a device through which to reflect upon issues of national culture, race, empire, class, and gender. Beginning with a discussion of early cinematic depictions of the child in Britain, this book examines cultural expressions of nationhood produced via non-commercial cinemas for children. It considers the way cinema encroaches on the moral edification of the child and the ostensible vibrancy and vitality of the British boy in post-war cinema. The author explores the representational and instrumental differences between depictions of boys and girls before extending this discussion to investigate the treatment of migrant, refugee, and immigrant children in British cinema. It ends by recapitulating these arguments through a discussion of internationally successful British blockbuster cinema. The child in this study is a mobile figure, deployed across generic boundaries, throughout the history of British cinema and embodying a range of discourses regarding the health and wellbeing of the nation.
Since the earliest days of British television drama, scriptwriter Nigel Kneale has been a seminal figure. His Quatermass serials for the BBC were a seismic event in the 1950s, before finding international success when adapted by Hammer Films for the big screen. Later TV plays, such as The Road, The Stone Tape and The Year of the Sex Olympics, skilfully blend elements of science fiction and the ghost story. They remain classics and Kneale himself a great influence on popular culture. Revised and updated, this new edition of Into the Unknown charts Nigel Kneale's extraordinary career, from his childhood on the Isle of Man, to his fraught days at the BBC, strange adventures in Hollywood, and his status as legend to legions of fans. It draws on a wealth of research and many hours of interviews with Kneale himself, as well as prominent admirers. These include John Carpenter, Ramsey Campbell, Grant Morrison, Russell T Davies, and Mark Gatiss and Jeremy Dyson of the League of Gentlemen.
Director, producer and screenwriter Joss Whedon is a creative force in film, television, comic books and a host of other media. This book provides an authoritative survey of all of Whedon's work, ranging from his earliest scriptwriting on Roseanne, through his many movie and TV undertakings--Toy Story, Buffy the Vampire Slayer, Angel, Firefly/Serenity, Dr. Horrible, The Cabin in the Woods, and Agents of S.H.I.E.L.D.--to his forays into the Marvel Cinematic Universe. The book covers both the original texts of the Whedonverse and the many secondary works focusing on Whedon's projects, including about 2000 books, essays, articles, documentaries and dissertations.
In the early 1950s, television was in its infancy. In the U.S., outer space adventuress series such as Captain Video and Hi Video Rangers, Space Patrol and Tom Corbett Space Cadet entertained young baby boomers, while adults enjoyed series such as Tale of Tomorrow and Lights Out. In the United Kingdom, programmes like Quatermass Experiment set the standard for televisions science fiction for decades to come. Many of these programmes have been lost to the ages never to be seen again, while others such as Adventured of Superman and Science Fiction Theatre can easily be found on DVD. Here, in one volume, are all the available details on the and other science fiction, fantasy and horror programmes from the United States, United Kingdom and Canada. A total of 48 series and serials are covered with a series overview, cast and episode details with a synopsis, guest cast, date of broadcast, and writer and director credits. Illustrated with over 300 photographs, many that have not been seen in print for more than 60 years. This is an abridges book in that no programmes from the 1960s or later are in it. It is expanded in the there is a lot more information on many of the programmes than were in the first edition. There are also more than 300 pictures, the first book only had them on covers.
While film and television seem to be closely allied screen media, our feature films and television series have seldom been successfully adapted across those screens. In fact, rather than functioning as portals, those allied media often seem, quite literally, screens that filter out something that made the source work so popular in its original form. Differences in budget, running times, cast, viewing habits, screen size and shape all come into play, and this volume’s aim is to track a number of popular texts in the course of their adaptive journeys across the screens in order to sketch the workings of that cross-media adaptation. For its specific examples, the volume draws on a single genre—science fiction—not only because it is one of the most popular today in either film or television, but also because it is arguably the most self-conscious of contemporary genres, and thus one that most obviously frames the terms of these technological adaptations. The essays included here mine that reflexive character, in both highly successful and in failed efforts at cross-media adaption, to help us understand what film and television achieve in screening science fiction, and to reveal some of the key issues involved in all of our efforts to navigate the various screens that have become part of contemporary culture.
The Essential Cult TV Reader is a collection of insightful essays that examine television shows that amass engaged, active fan bases by employing an imaginative approach to programming. Once defined by limited viewership, cult TV has developed its own identity, with some shows gaining large, mainstream audiences. By exploring the defining characteristics of cult TV, The Essential Cult TV Reader traces the development of this once obscure form and explains how cult TV achieved its current status as legitimate television. The essays explore a wide range of cult programs, from early shows such as Star Trek, The Avengers, Dark Shadows, and The Twilight Zone to popular contemporary shows such as Lost, Dexter, and 24, addressing the cultural context that allowed the development of the phenomenon. The contributors investigate the obligations of cult series to their fans, the relationship of camp and cult, the effects of DVD releases and the Internet, and the globalization of cult TV. The Essential Cult TV Reader answers many of the questions surrounding the form while revealing emerging debates on its future.