Brigid Cherry – författare

Horror cinema is a hugely successful, but at the same time culturally illicit genre that spans the history of cinema. It continues to flourish with recent cycles of supernatural horror and torture porn that span the full range of horror styles and aesthetics. It is enjoyed by audiences everywhere, but also seen as a malign influence by others. In this Routledge Film Guidebook, audience researcher and film scholar Brigid Cherry provides a comprehensive overview of the horror film and explores how the genre works. Examining the way horror films create images of gore and the uncanny through film technology and effects, Cherry provides an account of the way cinematic and stylistic devices create responses of terror and disgust in the viewer. Horror examines the way these films construct psychological and cognitive responses and how they speak to audiences on an intimate personal level, addressing their innermost fears and desires. Cherry further explores the role of horror cinema in society and culture, looking at how it represents various identity groups and engages with social anxieties, and examining the way horror sees, and is seen by, society.

Horror cinema is a hugely successful, but at the same time culturally illicit genre that spans the history of cinema. It continues to flourish with recent cycles of supernatural horror and torture porn that span the full range of horror styles and aesthetics. It is enjoyed by audiences everywhere, but also seen as a malign influence by others. In this Routledge Film Guidebook, audience researcher and film scholar Brigid Cherry provides a comprehensive overview of the horror film and explores how the genre works. Examining the way horror films create images of gore and the uncanny through film technology and effects, Cherry provides an account of the way cinematic and stylistic devices create responses of terror and disgust in the viewer. Horror examines the way these films construct psychological and cognitive responses and how they speak to audiences on an intimate personal level, addressing their innermost fears and desires. Cherry further explores the role of horror cinema in society and culture, looking at how it represents various identity groups and engages with social anxieties, and examining the way horror sees, and is seen by, society.

This book is the first to explore handicrafting practiced by media fans, their online fan communities and the multiple meanings they create. Based on in-depth ethnographic research into fans on the online social network for knitters, crocheters and crafters, Ravelry, Brigid Cherry explores textile craft by fans as both an artistic practice and transformative fan work. Including case studies of projects inspired by Doctor Who, True Blood, Firefly, Harry Potter, Sherlock and steampunk, the book engages with many forms of fan production, including fan art, fan fiction and cosplay. Fans of popular films and TV shows are increasingly engaging with textile crafts as a way of reworking, reimagining and engaging with cult media texts. Proving a global phenomenon amongst fan cultures in the digital media sphere, traditional film and TV audiences are forging their fan identities and participating in wider fan communities in innovative ways through online craft forums and blogs that showcase their knitting, crochet, spinning and dyeing projects. Exploring key debates from textile and media theory, surrounding gender, domesticity, the culture industries, audiences and fan culture, this book is essential reading for students of textiles, media studies, fashion, cultural and gender studies.

This book is the first to explore handicrafting practiced by media fans, their online fan communities and the multiple meanings they create. Based on in-depth ethnographic research into fans on the online social network for knitters, crocheters and crafters, Ravelry, Brigid Cherry explores textile craft by fans as both an artistic practice and transformative fan work. Including case studies of projects inspired by Doctor Who, True Blood, Firefly, Harry Potter, Sherlock and steampunk, the book engages with many forms of fan production, including fan art, fan fiction and cosplay. Fans of popular films and TV shows are increasingly engaging with textile crafts as a way of reworking, reimagining and engaging with cult media texts. Proving a global phenomenon amongst fan cultures in the digital media sphere, traditional film and TV audiences are forging their fan identities and participating in wider fan communities in innovative ways through online craft forums and blogs that showcase their knitting, crochet, spinning and dyeing projects. Exploring key debates from textile and media theory, surrounding gender, domesticity, the culture industries, audiences and fan culture, this book is essential reading for students of textiles, media studies, fashion, cultural and gender studies.

Doctor Who – new dawn explores the latest cultural moment in this long-running BBC TV series: the casting of a female lead. Analysing showrunner Chris Chibnall and Jodie Whittaker’s era means considering contemporary Doctor Who as an inclusive, regendered brand. Featuring original interview material with cast members, this edited collection also includes an in-depth discussion with Segun Akinola, composer of the iconic theme tune’s current version. The book critically address the series’ representations of diversity, as well as fan responses to the thirteenth Doctor via the likes of memes, cosplay and even translation into Spanish as a grammatically gendered language. In addition, concluding essays look at how this moment of Who has been merchandised, especially via the ‘experience economy’, and how official/unofficial reactions to UK lockdown helped the show to further re-emphasise its public-service potential.

From its opening moments featuring the aftermath of a plane crash on a tropical island, the television series Lost (2004-2010) became one of the most intriguing and talked about programmes in the era of digital media. This contribution to the Constellations series is the first full-length account of Lost and explores in detail what made this series both a popular hit with critics and the public (as ‘quality’ or ‘must-see’ TV), and also a series accruing intense fan scrutiny (as cult telefantasy). Lost is discussed in terms of its generic hybridity, and in particular how it incorporates and reframes familiar tropes of science fiction in the context of a Survivor reality TV-style plot on the one hand and as a ‘mystery box’ of extremely complex hermeneutic codes and hyperdiegesis on the other. Further, it explores the ways in which Lost uses science fictional narrative approaches to the intersections between themes of gender, identity, community, science, faith and philosophic thought. The book also discusses the series’ relationship with its narrative extensions in online games, merchandise, secondary texts and paratexts. Constellations: Lost is thus an important retrospective examination of a significant television series that was also a pioneering transmedia text.

From its opening moments featuring the aftermath of a plane crash on a tropical island, the television series Lost (2004-2010) became one of the most intriguing and talked about programmes in the era of digital media. This contribution to the Constellations series is the first full-length account of Lost and explores in detail what made this series both a popular hit with critics and the public (as ‘quality’ or ‘must-see’ TV), and also a series accruing intense fan scrutiny (as cult telefantasy). Lost is discussed in terms of its generic hybridity, and in particular how it incorporates and reframes familiar tropes of science fiction in the context of a Survivor reality TV-style plot on the one hand and as a ‘mystery box’ of extremely complex hermeneutic codes and hyperdiegesis on the other. Further, it explores the ways in which Lost uses science fictional narrative approaches to the intersections between themes of gender, identity, community, science, faith and philosophic thought. The book also discusses the series’ relationship with its narrative extensions in online games, merchandise, secondary texts and paratexts. Constellations: Lost is thus an important retrospective examination of a significant television series that was also a pioneering transmedia text.