James Aston – författare

The Saw films, often derided by critics as "torture porn" and an excuse to show blood and gore, are the highest-grossing horror series in cinema history. In view of their hold on audiences and their controversial content, they deserve study. This first collection of fresh essays by academic authors from Europe, America and Australia addresses the cultural, religious and philosophical facets of the films, investigating how the franchise reflects a post-9/11 shift in U.S. popular culture towards increasing pessimism and how it may be read as a metaphor for the "war on terror"; dissecting how the series explores such issues as freewill and determinism; assessing the films' representations of the body; and applying a Deleuzian perspective to the franchise.

Since the 1990s, the screening of sex on American, British and Asian television screens has become increasingly prolific. Considering not only the specificities of selected sexualised images in relation to popular series, this study also concerns itself with the ramifications of TV sex as well as discussing the various techniques that are used by TV producers/programme makers to establish the cultural worth of their texts in series such as Shameless, The Tudors and True Blood. The contributions draw attention to shifting representations of sex on television away from the authoritarian state and patriarchal order, toward a more democratic form of representation. As a significant and under-represented aspect of contemporary television studies, this is the first full-length academic collection to consider the wide-ranging representations of sex in society on contemporary television.

Since the 1990s, the screening of sex on American, British and Asian television screens has become increasingly prolific. Considering not only the specificities of selected sexualised images in relation to popular series, this study also concerns itself with the ramifications of TV sex as well as discussing the various techniques that are used by TV producers/programme makers to establish the cultural worth of their texts in series such as Shameless, The Tudors and True Blood.

The contributions draw attention to shifting representations of sex on television away from the authoritarian state and patriarchal order, toward a more democratic form of representation. As a significant and under-represented aspect of contemporary television studies, this is the first full-length academic collection to consider the wide-ranging representations of sex in society on contemporary television.

Since the 1990s, the screening of sex on American, British and Asian television screens has become increasingly prolific. Considering not only the specificities of selected sexualised images in relation to popular series, this study also concerns itself with the ramifications of TV sex as well as discussing the various techniques that are used by TV producers/programme makers to establish the cultural worth of their texts in series such as Shameless, The Tudors and True Blood. The contributions draw attention to shifting representations of sex on television away from the authoritarian state and patriarchal order, toward a more democratic form of representation. As a significant and under-represented aspect of contemporary television studies, this is the first full-length academic collection to consider the wide-ranging representations of sex in society on contemporary television.

Since the 1990s, the screening of sex on American, British and Asian television screens has become increasingly prolific. Considering not only the specificities of selected sexualised images in relation to popular series, this study also concerns itself with the ramifications of TV sex as well as discussing the various techniques that are used by TV producers/programme makers to establish the cultural worth of their texts in series such as Shameless, The Tudors and True Blood.

The contributions draw attention to shifting representations of sex on television away from the authoritarian state and patriarchal order, toward a more democratic form of representation. As a significant and under-represented aspect of contemporary television studies, this is the first full-length academic collection to consider the wide-ranging representations of sex in society on contemporary television.

The first of its kind, this study examines the exemplars of hardcore horror--Fred Vogel's August Underground trilogy, Shane Ryan's Amateur Porn Star Killer series and Lucifer Valentine's "vomit gore" films.The author begins with a definition and critical overview of this marginalized subgenre before exploring its key aesthetic convention, the pursuit of realist horror. Production practices, exhibition and marketing strategies are discussed in an in-depth interview with filmmaker Shane Ryan. Audience reception is covered with a focus on fan interaction via the Internet.

This book brings together nine original chapters to examine genre agency in East Asian cinema within the transnational context. It addresses several urgent and pertinent issues such as the distribution and exhibition practices of East Asian genre films, intra-regional creative flow of screen culture, and genre’s creative response to censorship. The volume expands the scholarly discussion of the rich heritage and fast-changing landscape of filmmaking in East Asian cinemas. Confronting the complex interaction between genres, filmic narrative and aesthetics, film history and politics, and cross-cultural translation, this book not only reevaluates genre’s role in film production, distribution, and consumption, but also tackles several under-explored areas in film studies and transnational cinema, such as the history of East Asian commercial cinema, the East Asian film industry, and cross-media and cross-market film dissemination.

This book brings together nine original chapters to examine genre agency in East Asian cinema within the transnational context. It addresses several urgent and pertinent issues such as the distribution and exhibition practices of East Asian genre films, intra-regional creative flow of screen culture, and genre’s creative response to censorship. The volume expands the scholarly discussion of the rich heritage and fast-changing landscape of filmmaking in East Asian cinemas. Confronting the complex interaction between genres, filmic narrative and aesthetics, film history and politics, and cross-cultural translation, this book not only reevaluates genre’s role in film production, distribution, and consumption, but also tackles several under-explored areas in film studies and transnational cinema, such as the history of East Asian commercial cinema, the East Asian film industry, and cross-media and cross-market film dissemination.