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  <titleInfo>
    <title>Gender and contemporary horror in television</title>
  </titleInfo>
  <name type="personal">
    <namePart>Gerrard, Steven</namePart>
    <role>
      <roleTerm type="text">editor.</roleTerm>
    </role>
  </name>
  <name type="personal">
    <namePart>Holland, Samantha</namePart>
    <role>
      <roleTerm type="text">editor.</roleTerm>
    </role>
  </name>
  <name type="personal">
    <namePart>Shail, Robert</namePart>
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    <dateIssued encoding="marc">2019</dateIssued>
    <issuance>monographic</issuance>
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  <language>
    <languageTerm authority="iso639-2b" type="code">eng</languageTerm>
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  <physicalDescription>
    <extent>1 online resource (xv, 241 pages).</extent>
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  <abstract>The 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.</abstract>
  <tableOfContents>Prelims -- Introduction -- The monstrous feminine -- The monstrous masculine -- The monstrous other -- Conclusion -- Select bibliography -- Select filmography -- Index.</tableOfContents>
  <note type="statement of responsibility">edited by Steven Gerrard, Samantha Holland, and Robert Shail.</note>
  <note>Includes bibliographical references and index.</note>
  <subject authority="lcsh">
    <topic>Horror television programs</topic>
    <topic>History and criticism</topic>
  </subject>
  <subject authority="lcsh">
    <topic>Sex role on television</topic>
  </subject>
  <subject authority="bisacsh">
    <topic>Social Science</topic>
    <topic>Gender Studies</topic>
  </subject>
  <subject authority="bicssc">
    <topic>Media studies</topic>
  </subject>
  <classification authority="lcc">PN1992.8.H67 G46 2019</classification>
  <classification authority="udc">808.2</classification>
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    <titleInfo>
      <title>Emerald studies in popular culture and gender</title>
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  <identifier type="isbn">9781787691032 (e-book)</identifier>
  <identifier type="isbn">9781787691056 (ePUB)</identifier>
  <identifier type="uri">https://www.emerald.com/insight/publication/doi/10.1108/9781787691032</identifier>
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