Stacey Abbott

David Lavery

In many respects a natural heir to predecessors like Buffy the Vampire Slayer and its spin-off Angel, Supernatural tells the story of brothers Dean and Sam Winchester as they travel the highways and byways of America in search of demons, monsters and other supernatural foes. In the course of their travels, Sam and Dean battle tricksters, vampires, shapeshifters, ghouls and ghosts. The essays in TV Goes to Hell include explorations of folklore and religion, representations of gender and sexuality and many more themes and issues raised by the show.

An Unofficial Road Map of Supernatural

TV Goes to Hell

As evidenced by the recent proliferation of fan conventions, television show boxed sets, and collectible character figurines, cult TV shows have arguably become the most vital and interesting programming on television. The once-marginal genre manifests itself in a remarkable variety of programs, from the suburban mob drama The Sopranos to the beloved occult fantasy Buffy the Vampire Slayer. The Cult TV Book is a guide to this phenomenon, complete with lively and diverse analyses of the work that goes into conceiving and marketing a cult series, as well as numerous investigations that explore the unique cult appeal of individual programs. Leading scholars, journalists, and writers consider the many aspects of a show — both script-based and visual — that attract the kind of uncompromisingly loyal fan bases that we know as “Trekkies,” for example, or, more recently, “Losties.” The Cult TV Book sheds light on the heretofore under-examined science of addictive TV programming, pinpointing the complex arcs and intentionally inadequate explanations that keep viewers coming back for more. The contributors cover every corner of the cult map, all the while trying to define the elusive genre, to understand the cult TV obsession from the outside in.

From Star Trek to Dexter, New Approaches to TV Outside the Box

The Cult TV Book

In 1896, French magician and filmmaker George Méliès brought forth the first celluloid vampire in his film Le manoir du diable. The vampire continues to be one of film's most popular gothic monsters and in fact, today more people become acquainted with the vampire through film than through literature, such as Bram Stoker's classic Dracula. How has this long legacy of celluloid vampires affected our understanding of vampire mythology? And how has the vampire morphed from its folkloric and literary origins? In this entertaining and absorbing work, Stacey Abbott challenges the conventional interpretation of vampire mythology and argues that the medium of film has completely reinvented the vampire archetype. Rather than representing the primitive and folkloric, the vampire has come to embody the very experience of modernity. No longer in a cape and coffin, today's vampire resides in major cities, listens to punk music, embraces technology, and adapts to any situation. Sometimes she's even female. With case studies of vampire classics such as Nosferatu, Martin, Blade, and Habit, the author traces the evolution of the American vampire film, arguing that vampires are more than just blood-drinking monsters; they reflect the cultural and social climate of the societies that produce them, especially during times of intense change and modernization. Abbott also explores how independent filmmaking techniques, special effects makeup, and the stunning and ultramodern computer-generated effects of recent films have affected the representation of the vampire in film.

Life After Death in the Modern World

Celluloid Vampires

First released in 1987, Near Dark is a vampire film set in the contemporary American Midwest that tells the story of Caleb, a half-vampire trying to decide whether to embrace his vampire nature or return to his human family. The film, an early work of the now-established director Kathryn Bigelow, skilfully mixes genre conventions, combining gothic tropes with those of the Western, road movie and film noir, while also introducing elements of the outlaw romance genre. Stacey Abbott's study of the film addresses it as a genre hybrid that also challenges conventions of the vampire film. The vampires are morally ambiguous and undermine the class structures that have historically defined stories of the undead. These are not aristocrats but instead they capture the allure and horror of the disenfranchised and the underclass. As Abbott describes, Near Dark was crucial in consolidating Bigelow's standing as a director of significance at an early point in her career, not simply because of her visual art background, but because of the way in which she would from Near Dark onward re-envision other traditionally mainstream genres of filmmaking.

Near Dark

Examines the innovative approach to genre, aesthetics, narrative, and the representation of masculinity in the television series Angel.

Angel

Cult TV is a very exciting area of contemporary television. "The Cult TV Book" is the companion reference to this TV phenomenon, whose shows push the boundaries and offer biting commentaries on society today. Cult TV is also changing. Where being cult used to mean being marginal with a small, loyal fan base, cult TV is now key to the television industry, fandom is global and online, cult status for a show is fostered by the networks, and cult series are noted for their spectacular special effects and sumptuous visual style. So, what is cult TV today? Leading scholars, writers and journalists redefine our understanding of cult TV, with new approaches to and case studies on: Cult TV aesthetics, History of cult TV, Cult TV & new media, The 'sub-cultural celebrity', Jane Espenson on how to write cult TV, Cult TV & the broadcast industry, Music, Innovation, Cult channels, Children's cult TV, Sex, Gender, Race, Cult audiences, Transgressive TV, Cult of cult TV, Nancy Holder on writing tie-ins, TV & Film Guide, Fan fiction, "Battlestar Galactica", "Buffy the Vampire Slayer", "Doctor Who", "The Avengers", "The Prisoner", "Quatermass", "The Sopranos", "Masters of Horror", "The Twilight Zone", "Twin Peaks", "Grey's Anatomy", "Bagpuss", "South Park", "The X Files", "Da Ali G Show", "Trailer Park Boys" and "Angel". Contributors include: Stacey Abbott, Sergio Angelini, Jes Battis, Stan Beeler, Miles Booy, Simon Brown, Bronwen Calvert, Jane Espenson, Dick Fiddy, Lincoln Geraghty, Janet K. Halfyard, Matt Hills, Nancy Holder, Catherine Johnson, Lorna Jowett, Roz Kaveney, Roberta Pearson, Denzell Richards, Hillary Robson, David Simmons, Sharon Sutherland, Paul Sutton, Sarah Swan, Donato Totaro, Rhonda V. Wilcox and Tat Wood.

Deborah Jermyn

The ultimate guide to contemporary romantic comedy, Falling in Love Again offers a timely new assessment of this hugely popular phenomenon. Romantic comedy has long been a mainstay of the movies, from the classic screwballs of the 1930s, through to Woody Allen's "nervous comedies" of the 1970s and the current great Hollywood revival, with modern classics such as Maid in Manhattan and Lost in Translation. Yet rom-coms have often struggled to be taken seriously. This original anthology from an international collection of contributors updates, revisits and reflects on today's romantic comedies. It considers the films and issues that illustrate the breathtaking diversity of the genre, from the queer pleasures of Miss Congeniality and the rom-com persona of J-Lo and Bill Murray, to high school prom-coms and indie romantic comedies. It also explores the new male-centred romances like Wedding Crashers and looks further afield into the healing power of romantic love in the Bollywood hit Raja Hindustani. These themes and more are covered in a book that takes the romantic comedy seriously, while also examining the many pleasures of this continually regenerating film form. Includes stills from some of the best known and well loved rom-coms of recent years, as well as a comprehensive filmography.

Romantic Comedy in Contemporary Cinema

Falling in Love Again

Explores the intersection of the vampire and zombie with 21st Century dystopian and post-apocalyptic cinemaTwenty-first century film and television is overwhelmed with images of the undead. Vampires and zombies have often been seen as oppositional: one alluring, the other repellant; one seductive, the other infectious. With case studies of films like I Am Legend and 28 Days Later, as well as TV programmes like Angel and The Walking Dead, this book challenges these popular assumptions and reveals the increasing interconnection of undead genres. Exploring how the figure of the vampire has been infused with the language of science, disease and apocalypse, while the zombie text has increasingly been influenced by the trope of the areluctant vampire, Stacey Abbott shows how both archetypes are actually two sides of the same undead coin. When considered together they present a dystopian, sometimes apocalyptic, vision of twenty-first century existence.Key featuresRather than seeing them as separate or oppositional, this book explores the intersection and dialogue between the vampire and zombie across film and televisionMuch contemporary scholarship on the vampire focuses on Dark Romance, while this book explores the more horror-based end of the genreOffers a detailed discussion of the development of zombie televisionProvides a detailed examination of Richard Mathesons I Am Legend, including the novel, the script, the adaptations and the BBFCs response to Mathesons script

Vampires and Zombies in the 21st Century

Undead Apocalyse

Lorna Jowett

The Horror genre has become one of the most popular genres of TV drama with the global success and fandom surrounding The Walking Dead, Supernatural and Stranger Things. Horror has always had a truly international reach, and nowhere is this more apparent than on television as explored in this provocative new collection looking at series from across the globe, and considering how Horror manifests in different cultural and broadcast/streaming contexts. Bringing together established scholars and new voices in the field, Global TV Horror examines historical and contemporary TV Horror from Australia, Brazil, Canada, Denmark, France, Iran, Japan, Spain, New Zealand, USA and the UK. It expands the discussion of TV Horror by offering fresh perspectives, examining new shows, and excavating new cultural histories, to render what has become so familiar – Horror on television – unfamiliar yet again.

Global TV Horror

Simon Brown

First aired in 2001, "Alias" is a spy drama with a central action heroine, a complex narrative of moral twists, turns, lies and double-crosses, and an imaginative array of gadgets, gizmos and glamorous costumes. It has become a leading cult television series with a loyal fan following. In the wake of 9/11, "Alias'" themes of doubles and duplicity have been perfectly placed to comment on global relations and the personal paranoias of post 9/11 citizens. But as much as "Alias" reflects contemporary global politics, at its core are themes of family and relationships. The series is ending with a bang in 2006 and "Investigating "Alias"" is the first book to give a full and fascinating examination of the series in its entirety, with a complete episode guide. Placing the series within the wider context of American Quality Television and the spy genre, contributors consider the central role of family, race, gender and moral ambiguity in "Alias". They also focus on the creator of "Alias", JJ Abrams, and discuss the development and influence of the fan world beyond the series with in-depth studies of DVD releases, tie-in, fan and slash fiction. is the first book to give a full and fascinating examination of the series in its entirety, with a complete episode guide.

Secrets and Spies

Investigating Alias

Horror is a universally popular, pervasive TV genre, with shows like True Blood, Being Human, The Walking Dead and American Horror Story making a bloody splash across our television screens. This complete, utterly accessible, sometimes scary new book is the definitive work on TV horror. It shows how this most adaptable of genres has continued to be a part of the broadcast landscape, unsettling audiences and pushing the boundaries of acceptability. The authors demonstrate how TV Horror continues to provoke and terrify audiences by bringing the monstrous and the supernatural into the home, whether through adaptations of Stephen King and classic horror novels, or by reworking the gothic and surrealism in Twin Peaks and Carnivale. They uncover horror in mainstream television from procedural dramas to children's television and, through close analysis of landmark TV auteurs including Rod Serling, Nigel Kneale, Dan Curtis and Stephen Moffat, together with case studies of such shows as Dark Shadows, Dexter, Pushing Daisies, Torchwood, and Supernatural, they explore its evolution on television. This book is a must-have for those studying TV Genre as well as for anyone with a taste for the gruesome and the macabre.

Investigating the Darker Side of the Small Screen

TV Horror

In 1896, French magician and filmmaker George M�li�s brought forth the first celluloid vampire in his film Le manoir du diable. The vampire continues to be one of film's most popular gothic monsters and in fact, today more people become acquainted with the vampire through film than through literature, such as Bram Stoker's classic Dracula. How has this long legacy of celluloid vampires affected our understanding of vampire mythology? And how has the vampire morphed from its folkloric and literary origins? In this entertaining and absorbing work, Stacey Abbott challenges the conventional interpretation of vampire mythology and argues that the medium of film has completely reinvented the vampire archetype. Rather than representing the primitive and folkloric, the vampire has come to embody the very experience of modernity. No longer in a cape and coffin, today's vampire resides in major cities, listens to punk music, embraces technology, and adapts to any situation. Sometimes she's even female. With case studies of vampire classics such as Nosferatu, Martin, Blade, and Habit, the author traces the evolution of the American vampire film, arguing that vampires are more than just blood-drinking monsters; they reflect the cultural and social climate of the societies that produce them, especially during times of intense change and modernization. Abbott also explores how independent filmmaking techniques, special effects makeup, and the stunning and ultramodern computer-generated effects of recent films have affected the representation of the vampire in film.

Stacey Abbott

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