標(biāo)題: Titlebook: Rethinking Horror in the New Economies of Television; Stella Marie Gaynor Book 2022 The Editor(s) (if applicable) and The Author(s), under [打印本頁(yè)] 作者: TRACT 時(shí)間: 2025-3-21 20:03
書(shū)目名稱Rethinking Horror in the New Economies of Television影響因子(影響力)
書(shū)目名稱Rethinking Horror in the New Economies of Television影響因子(影響力)學(xué)科排名
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書(shū)目名稱Rethinking Horror in the New Economies of Television網(wǎng)絡(luò)公開(kāi)度學(xué)科排名
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作者: 清醒 時(shí)間: 2025-3-21 23:41
http://image.papertrans.cn/r/image/829046.jpg作者: Humble 時(shí)間: 2025-3-22 03:30
https://doi.org/10.1007/978-3-030-97589-0Horror; Television Industry; Drama; Cultural; Internet Distributed; Genre; Special Effects作者: HOWL 時(shí)間: 2025-3-22 04:53
978-3-030-97591-3The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl作者: Glucose 時(shí)間: 2025-3-22 11:30 作者: Coordinate 時(shí)間: 2025-3-22 13:18 作者: 鞠躬 時(shí)間: 2025-3-22 20:01 作者: Abjure 時(shí)間: 2025-3-22 22:41
Shudder and the Specific Niche has pushed and developed horror serialization into forms that embrace both traditional codes and practices of linear and legacy television, whilst embracing and enticing committed horror fans with new media practices.作者: modifier 時(shí)間: 2025-3-23 02:55
Book 2022 industrial perspective. Examining TV horror through rich industrial and textual analysis, this book reveals the strategies and ambitions of cable and network channels, as well as Netflix and Shudder, with regards to horror serialization. Selected case studies; including?.American Horror Story.,?.Th作者: RADE 時(shí)間: 2025-3-23 07:40
Introduction,n horror serialization is opened by exploration of how television became able and willing to produce horror programming on such a grand scale, to create an identifiable cycle of horror in the decade 2010–2020. Moving the scholarly debate away from psychoanalysis and socio-political viewpoints, this 作者: 具體 時(shí)間: 2025-3-23 10:06 作者: Robust 時(shí)間: 2025-3-23 14:04
Horror and Peak TVaf as an era of Peak TV, this chapter considers horror drama as an industrial tool to navigate the cluttered landscape of Peak TV. Looking closely at . (FX, 2011–), . (FX, 2014–2017), and . (MTV/VH1, 2015–2019), this chapter will explore the compression of multiple horror subgenres in the anthology 作者: 細(xì)胞學(xué) 時(shí)間: 2025-3-23 20:17 作者: 錯(cuò) 時(shí)間: 2025-3-23 23:54
Netflix and Data-Driven Horrorl consider Netflix as a library of curated content developed via data collection to understand and serve its subscribers and examine Netflix’s first horror drama . (2013–2015) and how it appealed to wide sections of the subscriber base using genre tagging. As Netflix developed a “niche conglomerate”作者: 爭(zhēng)吵加 時(shí)間: 2025-3-24 04:16 作者: 不連貫 時(shí)間: 2025-3-24 07:08
The Brand, the Gothic, the Cult, and the Iconictexts. Examining . (Showtime, 2014–2016), its use of literary works from Mary Shelley, Bram Stoker, Robert Louis Stevenson, and Oscar Wilde,?these elements create a horror series as gory as any other in the cycle on US television in the 2010s, but cushions the visceral horror with the veneer of the 作者: Laconic 時(shí)間: 2025-3-24 11:03
Established Horror model on which to schedule horror. This chapter will explore how NBC with . (2013–2015) and . (2013–2014) took part in the horror cycle of the 2010s by developing horror series that were international co-productions to reduce cost and risk and combined well-established horror characters with famili作者: esthetician 時(shí)間: 2025-3-24 16:24 作者: 尖叫 時(shí)間: 2025-3-24 21:44
Conclusioners, and advertisers. This chapter states how tradition television and Internet-distributed television horror series became increasingly entangled with horror film and calls for future scholarship to consider horror as a genre that crosses all platforms, as media boundaries continue to blur. It poin作者: 砍伐 時(shí)間: 2025-3-25 00:27
the TV industry, the advertising industry and in critical dThis book explores the cycle of horror on US television in the decade following the launch of?.The Walking Dead., considering the horror genre from an industrial perspective. Examining TV horror through rich industrial and textual analysis,作者: 認(rèn)為 時(shí)間: 2025-3-25 06:49 作者: acrimony 時(shí)間: 2025-3-25 10:21
Netflix and Data-Driven Horror more focussed approach to Gothic horror, diverse casting in . (2018) as Netflix sought to be a global Internet-distributed television channel, and experimentation with form and episode length in pseudo-documentary . (2018–) and in the zombie thriller . (2019–).作者: Wordlist 時(shí)間: 2025-3-25 12:49 作者: coagulation 時(shí)間: 2025-3-25 17:10
Established Horrorpter also examines . (The CW, 2015–2019), another repackaging of the by 2015 established TV zombie into a low-key murder-of-the-week series, punctuated by comedy and romance. This chapter will demonstrate that the amalgamation of horror into existing television forms is a strategy utilized by networks to take part in the horror trend.作者: farewell 時(shí)間: 2025-3-25 22:11
Renegotiating Horrorxed structure of the slasher was serialized for television and how . worked hard to be considered part of the canon of . property, taking advantage of the shift in cultural and industrial attitudes to the existing texts and to horror on contemporary US television.作者: Cholagogue 時(shí)間: 2025-3-26 03:01
Conclusione horror genre permeates television, on-demand services, user-generated platforms, and develops into animated series too. . is a clear catalyst for the burgeoning horror genre on television, but as the zombie series comes to a close, it is not the end for horror on television.作者: GULF 時(shí)間: 2025-3-26 05:24
theless, the music ecosystem has engaged in a reorientation and aims to strengthen its resilience to fend off possible future external shocks. The concept of resilience as it pertains to music ecosystems, however, is often merely used as a metaphor and lacks analytical understanding of its constitut作者: 戰(zhàn)勝 時(shí)間: 2025-3-26 11:13 作者: tooth-decay 時(shí)間: 2025-3-26 16:15 作者: TRUST 時(shí)間: 2025-3-26 18:16
Stella Marie Gaynorgranting actors. SESC (Social Service for Commerce) is a private organization founded in 1946, which stated mission is to provide access to education, leisure and culture for commerce workers and their families, with units in all Brazilian states. Over the years, the S?o Paulo state branch has devel作者: diskitis 時(shí)間: 2025-3-26 22:55 作者: DEBT 時(shí)間: 2025-3-27 05:06 作者: Bmd955 時(shí)間: 2025-3-27 08:31 作者: BILK 時(shí)間: 2025-3-27 10:36
Rethinking Horror in the New Economies of Television作者: 笨拙的我 時(shí)間: 2025-3-27 16:28
Rethinking Horror in the New Economies of Television978-3-030-97589-0作者: 饑荒 時(shí)間: 2025-3-27 17:56
business models that foster competitiveness, to inclusion of minoritised groups, languages and genres, increasing access and fairness, and perceive diversity as crucial in fostering resilience, as it provides the basis for innovation, learning, and adaptation. This chapter contributes (1) to the con作者: 安裝 時(shí)間: 2025-3-27 22:02 作者: AVERT 時(shí)間: 2025-3-28 04:48
s. Since cultural production capacities are locally anchored, the potential of the ecosystem to sustain itself is related to local variables that can combine several heterogeneous logics. This chapter offers an evidence-based approach and assessment of the resilience and sustainability of Abu Dhabi‘作者: 國(guó)家明智 時(shí)間: 2025-3-28 09:07 作者: consent 時(shí)間: 2025-3-28 13:08 作者: 殺子女者 時(shí)間: 2025-3-28 16:43
Stella Marie Gaynorese protest movements is examined, but also their tendency to connect and influence each other, as well as the central, often ambiguous role global digital platforms play in this.?.978-3-319-87689-4978-3-319-63982-6Series ISSN 2730-9282 Series E-ISSN 2730-9290 作者: 和藹 時(shí)間: 2025-3-28 22:13
contemporary US television. In the first detailed exploration of graphic horror special effects as a marker of technical excellence, and how these skills are used for the promotion of TV horror drama, Gaynor makes the case that horror has become a cornerstone of US television..978-3-030-97591-3978-3-030-97589-0作者: garrulous 時(shí)間: 2025-3-29 02:42
Grundlagen des JSP-Entwurfse die einzelnen Schritte systematisch aufeinander aufbauen und welche Prüfm?glichkeiten — lange vor dem ersten Compilerlauf — beim übergang zwischen diesen Schritten einen korrekten Entwurf sicherstellen.作者: 乞討 時(shí)間: 2025-3-29 05:41 作者: ADORE 時(shí)間: 2025-3-29 09:54
