Elizabeth Evans – författare

Pynch Lake is quiet nine months of the year but bursts into life each summer when the vacationers arrive. In the summer of 1965, year-round residents Harold and Peg Wahl find the world that once belonged to them is now being taken over by their older daughters, returned from college for the summer. Cool and self-possessed Rosamund is receiving the attention of the family friend who formerly courted Peg. Martie is filling the house with parties and houseguests of her own. No one in the family is paying much attention to the precocious thirteen-year-old Franny, who sets out to find a life of her own and, in the process, turns the Wahl family upside down.

In rich and lyrical language, Elizabeth Evans, author of the critically acclaimed novels Carter Clay and The Blue Hour, has created both a profound meditation and a haunting story about the promises and betrayals of love. And in Franny Wahl, Evans has created one of the most memorable and endearing characters in recent fiction.

Elizabeth Evans traces the complex and often painful threads of human relationships in Suicide's Girlfriend, her most inspired work to date. In these richly textured stories, you'll meet:

Oyekan, a confused young Nigerian student who wrestles with feelings his U.S. friends cannot understand.

Marie, an adolescent who makes a carefully philosophized, end-of-the-rope stab at salvation for herself and her seven abused siblings.

Jenny and Heather, two girls whose friendship has suffered from the distractions of adolescence and the cruelty of one moving on while the other must sit idly by and watch.

A group of college boys, whose discovery of a dead body on the side of the road leaves one of them changed in ways he never thought possible.

Elegant, acute, and engaging, Suicide's Girlfriend will introduce you to these characters and more, their stories, and an incredible new voice in fiction.

This book offers a new, interdisciplinary model for understanding audience engagement as a type of behaviour, a form of response and a cost to audiences that, combined, offer value to the screen industries.

Audience ‘engagement’ has become the key priority of the screen industries. Understanding Engagement in Transmedia Culture explicitly asks what audiences and screen practitioners mean when they say content is ‘engaging’ and uses audience focus groups and practitioner interviews to offer a model for understanding the relationship between the screen industry, the content it produces and its audiences. In particular, the model addresses engagement within transmedia culture. As digital screen technologies proliferate, audiences move seamlessly across and between different devices, content formats and distribution platforms, blurring the boundaries between film, television and videogames. This book offers a way of understanding audience engagement that is not restricted to a single media but instead accounts for and adapts to the various ways in which screen content is experienced.

Offering a unique approach by presenting practitioner and audience perspectives, it is perfect for students and scholars working in film and television studies, as well as media industries and audience studies.

This book offers a new, interdisciplinary model for understanding audience engagement as a type of behaviour, a form of response and a cost to audiences that, combined, offer value to the screen industries.

Audience ‘engagement’ has become the key priority of the screen industries. Understanding Engagement in Transmedia Culture explicitly asks what audiences and screen practitioners mean when they say content is ‘engaging’ and uses audience focus groups and practitioner interviews to offer a model for understanding the relationship between the screen industry, the content it produces and its audiences. In particular, the model addresses engagement within transmedia culture. As digital screen technologies proliferate, audiences move seamlessly across and between different devices, content formats and distribution platforms, blurring the boundaries between film, television and videogames. This book offers a way of understanding audience engagement that is not restricted to a single media but instead accounts for and adapts to the various ways in which screen content is experienced.

Offering a unique approach by presenting practitioner and audience perspectives, it is perfect for students and scholars working in film and television studies, as well as media industries and audience studies.

London as Screen Gateway explores how London features within screen narratives and as a location of screen industry activity. Reflecting the diversity of roles the city plays both on screen and within the screen industries, the volume explores the intersection between London as a material place and its position within a cultural imaginary.

Conceptualising London as an archival city, as a collection of specific places and spaces, and as a part of national and international cultural and economic flows, contributors from film studies, television studies and media studies approach London through the lenses of textual analysis, historical work, industry studies and user experience. Chapters explore how London has appeared on screen across film and television, how screen content frames notions of place and belonging within the diasporic communities across the city, how the city has become a hub for the UK and global screen industries and how it intersects with national and local media policy.

This interdisciplinary volume will be of interest to scholars and students of film studies, television studies, media industry studies, games studies, cultural and media studies.

London as Screen Gateway explores how London features within screen narratives and as a location of screen industry activity. Reflecting the diversity of roles the city plays both on screen and within the screen industries, the volume explores the intersection between London as a material place and its position within a cultural imaginary.

Conceptualising London as an archival city, as a collection of specific places and spaces, and as a part of national and international cultural and economic flows, contributors from film studies, television studies and media studies approach London through the lenses of textual analysis, historical work, industry studies and user experience. Chapters explore how London has appeared on screen across film and television, how screen content frames notions of place and belonging within the diasporic communities across the city, how the city has become a hub for the UK and global screen industries and how it intersects with national and local media policy.

This interdisciplinary volume will be of interest to scholars and students of film studies, television studies, media industry studies, games studies, cultural and media studies.

The early years of the twenty-first century have seen dramatic changes within the television industry. The development of the internet and mobile phone as platforms for content directly linked to television programming has offered a challenge to the television set’s status as the sole domestic access point to audio-visual dramatic content. Viewers can engage with ‘television’ without ever turning a television set on.

Whilst there has already been some exploration of these changes, little attention has been paid to the audience and the extent to which these technologies are being integrated into their daily lives. Focusing on a particular period of rapid change and using case studies including Spooks, 24 and Doctor Who, Transmedia Television considers how the television industry has exploited emergent technologies and the extent to which audiences have embraced them. How has television content been transformed by shifts towards multiplatform strategies? What is the appeal of using game formats to lose oneself within a narrative world? How can television, with its ever larger screens and association with domesticity, be reconciled with the small portable, public technology of the mobile phone? What does the shift from television schedules to online downloading mean for our understanding of ‘the television audience’? Transmedia Television will consider how the relationship between television and daily life has been altered as a result of the industry’s development of emerging new media technologies, and what ‘television’ now means for its audiences.

The early years of the twenty-first century have seen dramatic changes within the television industry. The development of the internet and mobile phone as platforms for content directly linked to television programming has offered a challenge to the television set’s status as the sole domestic access point to audio-visual dramatic content. Viewers can engage with ‘television’ without ever turning a television set on.

Whilst there has already been some exploration of these changes, little attention has been paid to the audience and the extent to which these technologies are being integrated into their daily lives. Focusing on a particular period of rapid change and using case studies including Spooks, 24 and Doctor Who, Transmedia Television considers how the television industry has exploited emergent technologies and the extent to which audiences have embraced them. How has television content been transformed by shifts towards multiplatform strategies? What is the appeal of using game formats to lose oneself within a narrative world? How can television, with its ever larger screens and association with domesticity, be reconciled with the small portable, public technology of the mobile phone? What does the shift from television schedules to online downloading mean for our understanding of ‘the television audience’? Transmedia Television will consider how the relationship between television and daily life has been altered as a result of the industry’s development of emerging new media technologies, and what ‘television’ now means for its audiences.