Jessica Balanzategui – författare

This book examines how the iconic character Hannibal Lecter has been revised and redeveloped across different screen media texts. Hannibal "The Cannibal" Lecter has become one of Western culture’s most influential and enduring models of monstrosity since his emergence in 1981 in Red Dragon, Thomas Harris’ first Lecter book. Lecter is now at the centre of an extensive cross-mediated mythology, the most recent incarnation of which is Bryan Fuller’s television program, Hannibal (NBC, 2013-2015). This acclaimed series is the focus of Hannibal Lecter’s Forms, Formulations, and Transformations, which examines how Fuller’s program harnesses the iconic character to experiment with traditional boundaries of genre, medium, taste, and narrative form. Featuring chapters from established and emerging screen and popular culture scholars from around the world, the book outlines how the show operates as a striking experiment with televisual form and formula. The book also explores how this experimentation is embodied by the boundary-defying character, the savage cannibalistic serial killer, practicing psychiatrist, and cultured art enthusiast, Hannibal Lecter.The chapters in this book were originally published as a special issue of the journal, Quarterly Review of Film and Video.

This book examines how the iconic character Hannibal Lecter has been revised and redeveloped across different screen media texts. Hannibal "The Cannibal" Lecter has become one of Western culture’s most influential and enduring models of monstrosity since his emergence in 1981 in Red Dragon, Thomas Harris’ first Lecter book. Lecter is now at the centre of an extensive cross-mediated mythology, the most recent incarnation of which is Bryan Fuller’s television program, Hannibal (NBC, 2013-2015). This acclaimed series is the focus of Hannibal Lecter’s Forms, Formulations, and Transformations, which examines how Fuller’s program harnesses the iconic character to experiment with traditional boundaries of genre, medium, taste, and narrative form. Featuring chapters from established and emerging screen and popular culture scholars from around the world, the book outlines how the show operates as a striking experiment with televisual form and formula. The book also explores how this experimentation is embodied by the boundary-defying character, the savage cannibalistic serial killer, practicing psychiatrist, and cultured art enthusiast, Hannibal Lecter.The chapters in this book were originally published as a special issue of the journal, Quarterly Review of Film and Video.

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.

Monstrous Beings and Media Cultures examines the monsters and sinister creatures that spawn from folk horror, Gothic fiction, and from various sectors of media cultures. The collection illuminates how folk monsters form across different art and media traditions, and interrogates the 21C revitalization of folk as both a cultural formation and aesthetic mode. The essays explore how combinations of vernacular and institutional creative processes shape the folkloric and/or folkoresque attributes of monstrous beings, their popularity, and the contexts in which they are received. While it focuses on 21C permutations of folk monstrosity, the collection is transhistorical in approach, featuring chapters that focus on contemporary folk monsters, historical antecedents, and the pre-C21st art and media traditions that shaped enduring monstrous beings. The collection also illuminates how folk monsters and folk horror travel across cultures, media, and time periods, and how iconic monsters are tethered to yet repeatedly become unanchored from material and regional contexts.

The Uncanny Child in Transnational Cinema illustrates how global horror film depictions of children re-conceptualised childhood at the turn of the twenty-first century. By analysing an influential body of transnational horror films, largely stemming from Spain, Japan, and the US, Jessica Balanzategui shows how millennial uncanny child characters resist embodying growth and futurity, unravelling concepts to which the child's symbolic function is typically bound. The book proposes that complex cultural and industrial shifts at the turn of the millennium resulted in these potent cinematic renegotiations of the concept of childhood. By demonstrating both the culturally specific and globally resonant properties of these frightening visions of children who refuse to grow up, the book outlines the conceptual and aesthetic mechanisms by which long entrenched ideologies of futurity, national progress, and teleological history started to waver at the turn of the twenty-first century.

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.

The Uncanny Child in Transnational Cinema illustrates how global horror film depictions of children re-conceptualised childhood at the beginning of the twenty-first century, and considers the cultural conditions surrounding their emergence.