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Unseen Particles in Time: Co-producing Transcultural Memory as a Discourse of TV Legitimacy Within the Sky/HBO Miniseries TV Event, Chernobyl (2019)
“Unseen Particles in Time” considers what it is to produce a mediated transcultural memory as historic witness of Chernobyl within the context of a...
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Eastern Noir and the Borderscapes of Eastern Europe
Focusing on Eastern Europe through the notion of digital peripheries and the changing semantics of Eastern Noir, this chapter analyses the drift...
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Global SVOD Services in Spain: The Availability and Prominence of Spanish Films and Other Audiovisual Works
The film and television industries in Europe and around the world have been subject to rapid change with the development of global SVOD services,...
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Magnífica 70: HBO’s Portrayal of the Brazilian Boca do Lixo Cinema
This chapter analyzes the Brazilian drama series Magnífica 70 (HBO, 2015–18) as one that introduces an essential chapter of Brazil’s cinema history...
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The Greatest Generation: Band of Brothers im Kontext amerikanischer Geschichts- und Identitätsdiskurse
Der Beitrag diskutiert die Darstellung von Krieg in der HBO-Serie Band of Brothers vor dem Hintergrund amerikanischer Geschichts- und...
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The Adaptive Marketing of Penny Dreadful: Listening to The Dreadfuls
This chapter explains how Showtime’s marketing strategies for Penny Dreadful married the show’s core themes to fan-inspired ideas found on social...
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Adaptation and Censorship
This chapter examines the controversy surrounding HBO Max’s decision to temporarily withdraw Gone with the Wind from its streaming platform before...
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It’s a Sin: Cross-Platform Coproduction, Cultural Specificity, and Conflicting Cultures
This chapter examines cultural specificity in the context of a ‘cross-platform’ approach to transnational coproduction. The case study is British...
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“When You Play the Game of Thrones, You Win or You Die”: Game of Thrones between Mainstream Culture and Counterculture
In his book Wonderland. La cultura di massa da Walt Disney ai Pink Floyd, the cultural historian Alberto Mario Banti identified and discussed two pop...
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Game of Thrones and the Sublime
This paper explores the sublime as a key to the aesthetic impacts of Game of Thrones. Starting from the premise that Game of Thrones shares some of...
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‘I Don’t Do Business with Dagoes’: Anti-Italian Discrimination in Nicholas Meyer’s Vendetta
The chapter examines the movie Vendetta (1999) directed by Nicholas Meyer, an HBO movie based on a true story: the lynching of eleven Italian...
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Producers and Industrial Change: Morena Films and Spanish Cinema in the Streaming Era
Beyond even its importance as a constituent of the so-called ‘big five’ Western Europe media economies, Spain has proven itself to be a particularly...
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‘Grabbing and Kee**’: Deadwood—The Origin of Specie
This chapter explores the TV show Deadwood (HBO, 2004–2006) and the quintessential American dream of acquiring riches and protecting them under the...
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Prófugos (2011–2013) – Ästhetisierte Gewaltexzesse und nirgendwo Helden
Die chilenische HBO-Produktion Prófugos ist ein Paradebeispiel lateinamerikanischer Narco-Serien und doch einzigartig: Während etliche Narco-Serien...
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Afterword: Will I Dream of Terror, Again?
In “Will I Dream of Terror, Again?”, Stacy Takacs draws inspiration from the HBO horror drama Lovecraft Country (2020) to reflect on themes emerging...
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Representing Sex Workers: The Experiences of Shae, Ros and Daisy in Game of Thrones (2011–2019)
Writing in the New Statesman, Alison Phipps (New Statesman, 24 November 2014) advocates that feminism needs sex workers if we are to make women’s...
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Violence Framed: Remediating Images of Racialized Violence in Film
This chapter examines the remediation of images of racialized violence in the films I Am Not Your Negro, directed by Raoul Peck, and BlacKkKlansman,...
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“Read a Fucking Book!”: Reading for Redemption in Boardwalk Empire
Boardwalk Empire (HBO, 2010–2014), a gangster series set in the Prohibition era, is based upon the premise that the gangster—and, by extension, the...
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Chronicling the Critical Reception of True Blood
In this chapter I focus on the critical reception of HBO’s True Blood (2008–2014), examining the different conversations that have been ignited by...
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SVOD Production in East-Central Europe: Understanding the ‘Streamer Imaginaries’ of Independent Producers
Transnational SVOD services have been redefining and, in many ways, reinforcing centre-periphery hierarchies in the global screen media industries...