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020 _a9789048550630
_qPDF
024 7 _a10.1515/9789048550630
_2doi
035 _a(DE-B1597)9789048550630
035 _a(DE-B1597)662371
035 _a(OCoLC)1378570851
040 _aDE-B1597
_beng
_cDE-B1597
_erda
072 7 _aART057000
_2bisacsh
082 0 4 _a791.45/6164
_223//eng/20230630eng
084 _aonline - DeGruyter
100 1 _aRendell, James
_eautore
245 1 0 _aTransmedia Terrors in Post-TV Horror :
_bDigital Distribution, Abject Spectrums and Participatory Culture /
_cJames Rendell.
264 1 _aAmsterdam :
_bAmsterdam University Press,
_c[2023]
264 4 _c©2023
300 _a1 online resource (334 p.)
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
490 0 _aTransmedia ;
_v11
505 0 0 _tFrontmatter --
_tTransmedia: Participatory Culture and Media Convergence --
_tTable of Contents --
_tAcknowledgements --
_tIntroduction – TV Horror: What a Time to Be Alive… and Undead --
_tPart 1 Post-TV Horror Ecologies --
_t1. Jekyll and Hyde: TV Horror’s Incorporation of Other Genres and Audiences --
_t2. Streaming Screaming: Post-Television Horror Texts and Platforms --
_t3. Digital Crypt Keepers: Informal Digital Dissemination and Consumption of Post-TV Horror --
_tPart 2 Post-TV Horror Audiences --
_t4. Not Just Horrifying: TV Horror Audiences’ Abject Spectrums --
_t5. Spreadable Splatter: TV Horror’s Online Fans’ Image Textuality --
_t6. Sick Senses: Fan Food and Soundtracks as Materialities of Transmedia TV Horror --
_tConclusion --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aIn the twenty-first century horror television has spread across the digital TV landscape, garnering mainstream appeal. Located within a transmedia matrix, Transmedia Terrors in Post-TV Horror triangulates this boom across screen content, industry practices, and online participatory cultures. Understanding the genre within a post-TV paradigm, the book readdresses what is horror television, analysing not only broadcast TV and streaming platforms but also portals such as YouTube, Twitch.TV, and apps. The book also investigates complex digital media ecologies, blurring distinctions between niche and general audience viewing practices, and fostering new circulation pathways for horror television from around the world. Undertaking netnography, the book further offers an innovative model – abject spectrums – to empirically explore myriad audience responses to TV horror, manifesting in various participatory practices including writing, imagery, and crafts. As such, the book greatly expands what is considered horror television, its formatting and circulation, and the transmedia materiality of audience engagement.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 02. Jun 2024)
650 0 _aHorror fiction
_xHistory and criticism.
650 0 _aHorror television programs
_xHistory and criticism.
650 4 _aCultural Studies.
650 4 _aFilm Studies.
650 4 _aFilm, Media, and Communication.
650 4 _aMedia Studies.
650 7 _aART / Film & Video.
_2bisacsh
653 _aTelevision, Digital, Fandom, Affect, Horror.
700 1 _aHassler-Forest, Dan
_eautore
700 1 _aHills, Matt
_eautore
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.1515/9789048550630?locatt=mode:legacy
856 4 0 _uhttps://www.degruyter.com/isbn/9789048550630
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9789048550630/original
942 _cEB
999 _c302630
_d302630