03101nam a2200433Ii 45000010014000000030008000140050017000220060019000390070015000580080041000730200027001140200025001410400031001660500027001970720016002240720023002400800010002632450114002732640056003872640011004433000039004543360026004933370026005193380036005454900050005815040051006315050173006825201450008555880025023056500055023306500028023856500045024136500027024587000030024857000032025157000028025477760018025758560074025939781787691032UtOrBLW20251029120219.0m     o  d        cr un|||||||||190315s2019    enk     ob    001 0 eng d  a9781787691032 (e-book)  a9781787691056 (ePUB)  aUtOrBLWbengerdacUtOrBLW 4aPN1992.8.H67bG46 2019 7aJFD2bicssc 7aSOC0320002bisacsh  a808.200aGender and contemporary horror in television /cedited by Steven Gerrard, Samantha Holland, and Robert Shail. 1aBingley, U.K. :bEmerald Publishing Limited,c2019. 4c©2019  a1 online resource (xv, 241 pages).  atextbtxt2rdacontent  acomputerbc2rdamedia  aonline resourcebcr2rdacarrier0 aEmerald studies in popular culture and gender  aIncludes bibliographical references and index.0 aPrelims -- Introduction -- The monstrous feminine -- The monstrous masculine -- The monstrous other -- Conclusion -- Select bibliography -- Select filmography -- Index.  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.0 aPrint version record 0aHorror television programsxHistory and criticism. 0aSex role on television. 7aSocial SciencexGender Studies.2bisacsh 7aMedia studies.2bicssc1 aGerrard, Steven,eeditor.1 aHolland, Samantha,eeditor.1 aShail, Robert,eeditor.  z978178769104940uhttps://www.emerald.com/insight/publication/doi/10.1108/9781787691032