LEADER 03324nam 2200541I 450 001 9910809000103321 005 20190315113333.0 010 $a1-78769-105-5 010 $a1-78769-103-9 035 $a(CKB)4100000007745688 035 $a(MiAaPQ)EBC5722905 035 $a(UtOrBLW)9781787691032 035 $a(EXLCZ)994100000007745688 100 $a20190315d2019 uy 0 101 0 $aeng 135 $aurun||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 00$aGender and contemporary horror in television /$fedited by Steven Gerrard, Samantha Holland, and Robert Shail 205 $a1st ed. 210 1$aBingley, United Kingdom :$cEmerald Publishing Limited,$d[2019] 210 4$dİ2019 215 $a1 online resource (xv, 258 pages) 225 0 $aEmerald studies in popular culture and gender 311 $a1-78769-106-3 311 $a1-78769-104-7 320 $aIncludes bibliographical references and index. 327 $aPrelims -- Introduction -- The monstrous feminine -- The monstrous masculine -- The monstrous other -- Conclusion -- Select bibliography -- Select filmography -- Index. 330 $aThe successful return of horror to our television screens in the post-millennial years, and across a multi-media range of platforms, demonstrates that this previously moribund genre is once again vibrant, challenging and long-lasting. The traditional TV audience of the past would have watched very few horror TV shows, because not many were made. But that has changed. Programme makers have tapped into their public's insatiable need - in these days of terrorism, violence and mayhem - to provide programmes that have high production values, engaging storylines, and plenty of frights and gore. Horror TV offers a safety-valve for its audience, one that enables them to enter into it from the safety of their armchairs. The era of instant access, streaming, downloading and binge-watching whole seasons over a weekend, where fandom has blossomed into a cultural force, clearly shows horror as a vital part of today's TV scheduling. This edited collection investigates the rising popularity of horror-television through deconstructing the gender roles within them via series of case studies including such programmes as Hannibal, American Horror Story, The Walking Dead, Penny Dreadful, Supernatural, The Exorcist and Bates Motel. By using a series of case studies and employing theoretical modes of close analysis, each chapter demonstrates how and why these TV shows are important in reflecting the changing gender roles within modern society. 606 $aHorror television programs$xHistory and criticism 606 $aSex role on television 606 $aSocial Science$xGender Studies$2bisacsh 606 $aMedia studies$2bicssc 615 0$aHorror television programs$xHistory and criticism. 615 0$aSex role on television. 615 7$aSocial Science$xGender Studies. 615 7$aMedia studies. 676 $a808.225 702 $aGerrard$b Steven 702 $aHolland$b Samantha 702 $aShail$b Robert 801 0$bUtOrBLW 801 1$bUtOrBLW 906 $aBOOK 912 $a9910809000103321 996 $aGender and contemporary horror in television$93962563 997 $aUNINA