Djoymi Baker - Böcker

Soon after film came into existence, the term epic was used to describe productions that were lengthy, spectacular, live with action, and often filmed in exotic locales with large casts and staggering budgets. The effort and extravagance needed to mount an epic film paid off handsomely at the box office, for the genre became an immediate favorite with audiences. Epic films survived the tribulations of two world wars and the Depression and have retained the basic characteristics of size and glamour for more than a hundred years. Length was, and still is, one of the traits of the epic, though monolithic three- to four-hour spectacles like Gone with the Wind (1939) and Lawrence of Arabia (1962) have been replaced today by such franchises as the Harry Potter films and the Lord of the Rings trilogy. Although the form has evolved during many decades of existence, its central elements have been retained, refined, and modernized to suit the tastes of every new generation. The Encyclopedia of Epic Films identifies, describes, and analyzes those films that meet the criteria of the epic—sweeping drama, panoramic landscapes, lengthy adventure sequences, and, in many cases, casts of thousands. This volume looks at the wide variety of epics produced over the last century—from the silent spectacles of D. W. Griffith and biblical melodramas of Cecil B. DeMille to the historical dramas of David Lean and rollercoaster thrillers of Steven Spielberg. Each entry contains:Major personnel behind the camera, including directors and screenwriters Cast and character listingsPlot summaryAnalysisAcademy Award wins and nominationsDVD and Blu-ray availabilityResources for further studyThis volume also includes appendixes of foreign epics, superhero spectaculars, and epics produced for television, along with a list of all the directors in the book. Despite a lack of overall critical recognition and respect as a genre, the epic remains a favorite of audiences, and this book pays homage to a form of mass entertainment that continues to fill movie theaters. The Encyclopedia of Epic Films will be of interest to academics and scholars, as well as any fan of films made on a grand scale.

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.

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.

Imagining Innocence reconceptualises the interface between childhood and celebrity studies by exploring how child stars embody layered cultural meanings of childhood across history and media. The book brings together research that explores child celebrities across the entertainment ecologies of film, television, sport, music, theatre, and streaming platforms.It analyses iconic figures such as Julie Andrews, Patty Duke, Brooke Shields, and Charlotte Gainsbourg, alongside contemporary child celebrities on Disney+ and in participatory online cultures. Case studies also include trans child stars, the ‘Adam Goodes saga,’ which reveals how settler discourses of childhood are mobilised to contain Indigenous celebrity, and children of celebrities during the COVID-19 pandemic. The book explores how child stars sit at the intersection of childhood and celebrity studies, reflecting and unsettling dominant Western, Eurocentric constructions of childhood while reframing questions of gender, sexuality, race, disability, and national identity.By theorising child stardom as a “palimpsest,” the book highlights how cultural narratives of the child are repeatedly overwritten yet never erased. The volume will be essential for scholars and students of media, celebrity, and childhood studies, as well as for readers interested in how children and childhood shape, and are shaped by, celebrity cultures. This book was originally published as a special issue of Information, Communication & Society.

Today's media, cinema and TV screens are host to new manifestations of myth, their modes of storytelling radically transformed from those of ancient Greece. They present us with narratives of contemporary customs and belief systems: our modern-day myths. Djoymi Baker's insightful study argues that the tools of transmedia merchandising and promotional material shape viewers' experiences of the hit television series Star Trek, to reinforce the mythology of the gargantuan franchise. Media marketing utilises the show's method of recycling the narratives of classical heritage, yet it also looks forward to the future. In this way, it reminds consumers of the Star Trek story's ongoing centrality within popular culture, whether in the form of the original 1960s series, the later additions such as Voyager and Discovery or J. J. Abrams' `reboot' films. Chapters examine how oral and literary traditions have influenced the series structure and its commercial image, how the cosmological role of humanity and the Earth are explored in title sequences across various Star Trek media platforms, and the multi-faceted way in which Internet, video game and event spin-offs create rituals to consolidate the space opera's fan base. In her afterword to this new edition, Baker extends her analysis to the recently released Star Trek: Short Treks (2018-), Star Trek: Picard (2020-), Star Trek: Lower Decks (2020-), and Star Trek: Strange New Worlds (2022-). In doing so, she underscores the continuing significance of myth in this unprecedented era of expansion for the entire Star Trek enterprise.