Stacey Abbott – författare

In 1896, French magician and filmmaker George MÉliÈs brought forth the first celluloid vampire in his film Le manoir du diable. The vampire continues to be one of film's most popular gothic monsters and in fact, today more people become acquainted with the vampire through film than through literature, such as Bram Stoker's classic Dracula. How has this long legacy of celluloid vampires affected our understanding of vampire mythology? And how has the vampire morphed from its folkloric and literary origins? In this entertaining and absorbing work, Stacey Abbott challenges the conventional interpretation of vampire mythology and argues that the medium of film has completely reinvented the vampire archetype. Rather than representing the primitive and folkloric, the vampire has come to embody the very experience of modernity. No longer in a cape and coffin, today's vampire resides in major cities, listens to punk music, embraces technology, and adapts to any situation. Sometimes she's even female. With case studies of vampire classics such as Nosferatu, Martin, Blade, and Habit, the author traces the evolution of the American vampire film, arguing that vampires are more than just blood-drinking monsters; they reflect the cultural and social climate of the societies that produce them, especially during times of intense change and modernization. Abbott also explores how independent filmmaking techniques, special effects makeup, and the stunning and ultramodern computer-generated effects of recent films have affected the representation of the vampire in film.

Twenty-first century film and television is overwhelmed with images of the undead. Vampires and zombies have often been seen as oppositional: one alluring, the other repellant; one seductive, the other infectious. With case studies of films like I Am Legend and 28 Days Later, as well as TV programmes like Angel and The Walking Dead, this book challenges these popular assumptions and reveals the increasing interconnection of undead genres. Exploring how the figure of the vampire has been infused with the language of science, disease and apocalypse, while the zombie text has increasingly been influenced by the trope of the ‘reluctant’ vampire, Stacey Abbott shows how both archetypes are actually two sides of the same undead coin. When considered together they present a dystopian, sometimes apocalyptic, vision of twenty-first century existence.

Following the phenomenal success of the first three seasons of Buffy the Vampire Slayer on the WB Network, writers and producers Joss Whedon and David Greenwalt moved their character Angel to his own spin-off series in 1999. While Angel, which followed its namesake vampire with a soul who had become Buffy's tragic love interest, never quite matched the popularity of Buffy, the spin-off was notable for being specifically aimed at adult audiences and acquiring an intensely loyal following. In this in-depth study of Angel, Stacey Abbott demonstrates that producers of the show used the commercial convention of the spin-off not simply to repeat Buffy's successful formula but to create a complex televisual experience with its own distinct identity and creativity.Through close textual analysis of a range of individual episodes, this volume focuses on the series' unique visual style and the ways it experiments with the conventions and form of television programming. Abbott clearly situates Angel within traditions of the horror genre on television and in so doing addresses how the horror genre has evolved to suit the changing landscape of contemporary television. She also challenges the tendency to attribute the success of contemporary cult television to a sole auteur by examining the contribution of Angel's writing team and addressing how contemporary television is characterized by a collective creativity. Finally, while there has been a vast amount of scholarly interest in Angel's parent show in terms of feminist issues, this volume positions Angel as a key text within gender and feminist studies that offers a clever deconstruction of contemporary masculinity.In all, Abbott argues that Angel uses narrative, genre, visual style, and theme to create an ambiguous moral landscape in which characters struggle to negotiate the correct path when the consequences of their actions are unknown. Fans of Angel and students and scholars of film and television studies will enjoy this thought-provoking analysis of the series.

The Routledge Companion to Global Horror is a mapping of an emergent Global Horror Studies that are developing across media forms of literature, film, TV, radio, podcasting, video gaming and other forms of culture. In 53 chapters and 25 ‘snapshot’ mini-essays, the Companion has commissioned leading scholars from Sweden to New Zealand, from China, North and South America, the UK and Europe, to cover what is now a global network of horror. The book offers specialist sections on literature, film, TV and transmedia horror as well as sections with chapters on established and emergent theoretical frames and the cultural and intersectional politics of horror. Uniquely, it builds both a history of the rise of ‘horror’ in distinct forms and a new mapping of a constantly evolving global genre, now produced across a network of transnational sources, each with their own distinct version of horror. . This volume will allow readers to think in an inherently transnational, comparative mode of critical apprehension of the genre, decentering narrow national formulations of horror for a wider, interdisciplinary conception of horror.

Twenty-first century film and television is overwhelmed with images of the undead. Vampires and zombies have often been seen as oppositional: one alluring, the other repellant; one seductive, the other infectious. With case studies of films like I Am Legend and 28 Days Later, as well as TV programmes like Angel and The Walking Dead, this book challenges these popular assumptions and reveals the increasing interconnection of undead genres. Exploring how the figure of the vampire has been infused with the language of science, disease and apocalypse, while the zombie text has increasingly been influenced by the trope of the ‘reluctant’ vampire, Stacey Abbott shows how both archetypes are actually two sides of the same undead coin. When considered together they present a dystopian, sometimes apocalyptic, vision of twenty-first century existence.

The Horror genre has become one of the most popular genres of TV drama with the global success and fandom surrounding The Walking Dead, Supernatural and Stranger Things. Horror has always had a truly international reach, and nowhere is this more apparent than on television as explored in this provocative new collection looking at series from across the globe, and considering how Horror manifests in different cultural and broadcast/streaming contexts. Bringing together established scholars and new voices in the field, Global TV Horror examines historical and contemporary TV Horror from Australia, Brazil, Canada, Denmark, France, Iran, Japan, Spain, New Zealand, USA and the UK. It expands the discussion of TV Horror by offering fresh perspectives, examining new shows, and excavating new cultural histories, to render what has become so familiar – Horror on television – unfamiliar yet again.

Romantic comedy has long been a mainstay of the movies, from the classic screwballs of the 1930s, through Woody Allen's 'nervous comedies' of the 1970s, to the current great Hollywood revival, featuring such movies as "Maid in Manhattan" and "Lost in Translation"; yet rom-coms have often struggled to be taken seriously.This original anthology from an international collection of contributors updates, revisits and reflects on today's romantic comedies. It considers the films and issues that illustrate the breathtaking diversity of the genre, from the queer pleasures of "Miss Congeniality" and the rom-com persona of J-Lo and Bill Murray, to high school prom-coms and indie romantic comedies. It also explores the new male-centred romances like "Wedding Crashers" and looks further afield into the healing power of romantic love in the Bollywood hit "Raji Hindustani".These themes and more are covered in a book that takes the romantic comedy seriously, while also examining the many pleasures of this continually regenerating film form.

Cult TV is a very exciting area of contemporary television. "The Cult TV Book" is the companion reference to this TV phenomenon, whose shows push the boundaries and offer biting commentaries on society today. Cult TV is also changing. Where being cult used to mean being marginal with a small, loyal fan base, cult TV is now key to the television industry, fandom is global and online, cult status for a show is fostered by the networks, and cult series are noted for their spectacular special effects and sumptuous visual style. So, what is cult TV today?Leading scholars, writers and journalists redefine our understanding of cult TV, with new approaches to and case studies on: Cult TV aesthetics, History of cult TV, Cult TV & new media, The 'sub-cultural celebrity', Jane Espenson on how to write cult TV, Cult TV & the broadcast industry, Music, Innovation, Cult channels, Children's cult TV, Sex, Gender, Race, Cult audiences, Transgressive TV, Cult of cult TV, Nancy Holder on writing tie-ins, TV & Film Guide, Fan fiction, "Battlestar Galactica", "Buffy the Vampire Slayer", "Doctor Who", "The Avengers", "The Prisoner", "Quatermass", "The Sopranos", "Masters of Horror", "The Twilight Zone", "Twin Peaks", "Grey's Anatomy", "Bagpuss", "South Park", "The X Files", "Da Ali G Show", "Trailer Park Boys" and "Angel". Contributors include: Stacey Abbott, Sergio Angelini, Jes Battis, Stan Beeler, Miles Booy, Simon Brown, Bronwen Calvert, Jane Espenson, Dick Fiddy, Lincoln Geraghty, Janet K. Halfyard, Matt Hills, Nancy Holder, Catherine Johnson, Lorna Jowett, Roz Kaveney, Roberta Pearson, Denzell Richards, Hillary Robson, David Simmons, Sharon Sutherland, Paul Sutton, Sarah Swan, Donato Totaro, Rhonda V. Wilcox and Tat Wood.

Horror is a universally popular, pervasive TV genre, with shows like True Blood, Being Human, The Walking Dead and American Horror Story making a bloody splash across our television screens. This complete, utterly accessible, sometimes scary new book is the definitive work on TV horror. It shows how this most adaptable of genres has continued to be a part of the broadcast landscape, unsettling audiences and pushing the boundaries of acceptability. The authors demonstrate how TV Horror continues to provoke and terrify audiences by bringing the monstrous and the supernatural into the home, whether through adaptations of Stephen King and classic horror novels, or by reworking the gothic and surrealism in Twin Peaks and Carnivale. They uncover horror in mainstream television from procedural dramas to children's television and, through close analysis of landmark TV auteurs including Rod Serling, Nigel Kneale, Dan Curtis and Stephen Moffat, together with case studies of such shows as Dark Shadows, Dexter, Pushing Daisies, Torchwood, and Supernatural, they explore its evolution on television.This book is a must-have for those studying TV Genre as well as for anyone with a taste for the gruesome and the macabre.

In 1999 Angel's creator Joss Whedon moved the vampire with a soul from the successful series "Buffy the Vampire Slayer" to his very own spin-off series "Angel". With a cast of characters as tormented by their pasts as is Angel himself, the spin-off has developed its own preoccupations, exploring a darker vision of alienation, atonement and the fight for redemption, with humour and a fine, noir style. The series will complete its run in 2005 and this first discussion and celebration of Angel as a distinct entity explores the full five seasons, with a complete episode guide. The cinematic aesthetics of Angel, its music, shifting portrayals of masculinity, the noir Los Angeles setting, impact of comedy, the superhero, horror, and the influence of corporate and global evil in the form of Wolfram & Hart are just a few of the subjects addressed in this tribute to Angel for its many fans who will be going into mourning in 2005.