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As Americans grappled with the real problems of the atomic age in the 1950s, the science fiction television series provided escapist fare. At first essentially fantasy and adventure, the shows reflected the progress of the decade, using in the late 1950s extrapolations from the theories and findings of true science. From Adventures of Superman to World of Giants, this reference work covers all science fiction television series of the 1950s. A lengthy essay details character development, technical innovations, critical commentary and other matters. The episode guides that follow first provide primary cast and production credits for the entire season and then coverage of each individual episode, with title, airdate, writer, director, and a plot synopsis. Much of the information was derived from actual viewing, and many errors from other works are corrected here.
“A richly detailed and critically penetrating overview . . . from the plucky adventures of Captain Video to the postmodern paradoxes of The X-Files and Lost.” —Rob Latham, coeditor of Science Fiction Studies Exploring such hits as The Twilight Zone, Star Trek, Battlestar Galactica, and Lost, among others, The Essential Science Fiction Television Reader illuminates the history, narrative approaches, and themes of the genre. The book discusses science fiction television from its early years, when shows attempted to recreate the allure of science fiction cinema, to its current status as a sophisticated genre with a popularity all its own. J. P. Telotte has assembled a wide-ranging volume rich in theoretical scholarship yet fully accessible to science fiction fans. The book supplies readers with valuable historical context, analyses of essential science fiction series, and an understanding of the key issues in science fiction television.
Science fiction TV and the American psyche.
When Pittsburgh Dad debuted on YouTube, creators Chris Preksta and Curt Wootton little suspected their sitcom would receive more than sixteen million views and turn their blue-collar everyman into a nationally known figure. Illustrated with hilarious black-and-white photos, Pittsburgh Dad shares the best of the best, from rants about swimming pool rules to reflections on coaching little league to curmudgeonly movie reviews. With its heavy dose of nostalgia and pitch-perfect sensibility, Pittsburgh Dad will have readers laughing in recognition, especially those who love recent blockbusters like Sh*t My Dad Says and Dad Is Fat.
The music for science fiction television programs, like music for science fiction films, is often highly distinctive, introducing cutting-edge electronic music and soundscapes. There is a highly particular role for sound and music in science fiction, because it regularly has to expand the vistas and imagination of the shows and plays a crucial role in setting up the time and place. Notable for its adoption of electronic instruments and integration of music and effects, science fiction programs explore sonic capabilities offered through the evolution of sound technology and design, which has allowed for the precise control and creation of unique and otherworldly sounds. This collection of essays analyzes the style and context of music and sound design in Science Fiction television. It provides a wide range of in-depth analyses of seminal live-action series such as Doctor Who, The Twilight Zone, and Lost, as well as animated series, such as The Jetsons. With thirteen essays from prominent contributors in the field of music and screen media, this anthology will appeal to students of Music and Media, as well as fans of science fiction television.
Text and more than 400 illustrations provide information on every science fiction and fantasy program that has been shown on television.
This is a detailed examination of 58 science fiction television series produced between 1990 and 2004, from the popular The X-Files to the many worlds of Star Trek (The Next Generation onward), as well as Andromeda, Babylon 5, Firefly, Quantum Leap, Stargate Atlantis and SG-I, among others. A chapter on each series includes essential production information; a history of the series; critical commentary; and amusing, often provocative interviews with overall more than 150 of the creators, actors, writers and directors. The book also offers updates on each series' regular cast members, along with several photographs and a bibliography. Fully indexed.
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.
This collection reads the science fiction genre and television medium as examples of heterotopia (and television as science fiction technology), in which forms, processes, and productions of space and time collide – a multiplicity of spaces produced and (re)configured. The book looks to be a heterotopic production, with different chapters and “spaces” (of genre, production, mediums, technologies, homes, bodies, etc), reflecting, refracting, and colliding to offer insight into spatial relationships and the implications of these spaces for a society that increasingly inhabits the world through the space of the screen. A focus on American science fiction offers further spatial focus for this study – a question of geographical and cultural borders and influence not only in terms of American science fiction but American television and streaming services. The (contested) hegemonic nature of American science fiction television will be discussed alongside a nation that has significantly been understood, even produced, through the television screen. Essays will examine the various (re)configurations, or productions, of space as they collapse into the science fiction heterotopia of television since 1987, the year Star Trek: Next Generation began airing.