Telefantasy
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Telefantasy
Author: Catherine Johnson
language: en
Publisher: British Film Institute
Release Date: 2005-08-26
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Telefantasy
Telefantasy offers the first book length study to consider the place of fantasy, science fiction, and horror dramas in the history of British and US television. Looking at two periods (the 1950s/60s and the 1990s/2000s) when telefantasy has been particularly prevalent on television, this book provides detailed historical accounts of the production of key 'telefantasy' programmes: the Quatermass serials, The Prisoner, Star Trek, The X-Files, Buffy the Vampire Slayer, and Randall and Hopkirk (Deceased). Each case study is situated in relation to the development of the British and US television industries and the regulatory and critical discourses surrounding them, offering a new understanding of the individual programmes and the historical development of television as a medium. By bringing together a range of fantasy dramas and asking what they offered to television producers, Telefantasy challenges the previous understanding of these programmes as 'unique' cultural phenomena, and asks whether telefantasy can be understood as a genre. Through this analysis, Telefantasy argues that 'the fantastic' is a particularly rich area for re-examining the central assumptions about the aesthetics of television. These tales of alien invasion, futuristic space travel, and vampire slaying challenge the dominant notion that television is an intimate medium unsuited to the display of visual style. Telefantasy engages with current debates about television history, genre, narrative, and spectator theory, while providing case studies that will be of interest to students of television and fans of telefantasy.
Netflix, Dark Fantastic Genres and Intergenerational Viewing
Focusing on Netflix’s child and family-orientated platform exclusive content, this book offers the first exploration of a controversial genre cycle of dark science fiction, horror, and fantasy television under Netflix’s "Family Watch Together TV" tag. Using a ground-breaking mix of methods including audience research, interface, and textual analysis, the book demonstrates how Netflix is producing dark family telefantasy content that is both reshaping child and family-friendly TV genres and challenging earlier broadcast TV models around child-appropriate family viewing. It illuminates how Netflix encourages family audiences to "watch together" through intergenerational dynamics that work on and offscreen. The chapters in this book explore how this "Netflixication" of family television developed across landmark examples including Stranger Things, A Series of Unfortunate Events, The Dark Crystal: Age of Resistance, and even Squid Game. The book outlines how Netflix is consolidating a new dark family terrain in the streaming sector, which is unsettling older concepts of family viewing, leading to considerable audience and critical confusion around target audiences and viewer expectations. This book will be of particular interest to upper-level undergraduates, graduates, and scholars in the fields of television studies, screen genre studies, childhood studies, and cultural studies.
