Titlebook: Emotions in Contemporary TV Series; Alberto N. García Book 2016 Palgrave Macmillan, a division of Macmillan Publishers Limited 2016 Televi

議程

Connotation

光明正大

A Revolution in Urban Lifestyle: ,’s Narrative Revisited as a Social Lab— we can find the clearest examples of the changes in lifestyles, in codes of conduct and in the models of masculinity and femininity, as well as in the emotional regimes and its failures. These changes draw an unsurpassable horizon for the current generation.

任意

Performing Englishness: Postnational Nostalgia in , and ,itain only began to be seriously investigated (as distinct from being taken for granted) after the Second World War, a time when peace and imperial retreat fostered a highly introverted view of the British past’ (311). During the twentieth century, several issues — among them, the last vestiges of t

證明無罪

GUILE

Loss is Part of the Deal: Love, Fear and Mourning in TV Horrorile Lorna Jowett and I have argued that horror has been a consistent presence on television since the 1950s, the genre has become more visible in the current broadcast climate across a wide range of channels, networks, pay TV and streaming services in the UK and the US, with new series, such as . (B

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時(shí)代錯(cuò)誤

Emotions in , and ,: What Makes Us Human966–69), the movie . (2009), and . (ABC, 1978–79; Sci-fi, 2003–09) have mirrored the human condition and reflected changes in societal knowledge about emotions and rational behaviour. . and . (hereafter .) use distinctions among emotional and dispassionate behaviour as a distinguishing feature that

misshapen

Group Empathy? A Conceptual Proposal, Apropos of ,ectator engagement with characters. However, at the same time, the complexity of the questions raised by empathy has led to controversy and debate. For example, in the field of cognitive studies of films and television series, since the articulation of the first major sympathy-based theory of emotio