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In whatever manner or metaphor that the dynamic relationship between text and paratext may flow, the explosion of paratextual material and its ready circulation online provides instructors with a remarkable opportunity—and, as this dossier contends, responsibility—to teach the paratext.

Doing so is no simple matter, and requires much more than tweaking a syllabus. We have asked the contributors to this dossier to address specific pedagogical questions that arise when moving the paratext from a supplement to a centerpiece of the classroom: How do the terms of formal analysis shift when performing an analysis of a paratext? Are there new vocabularies that should accompany the analysis of paratexts?

Should archival research be a component of paratextual analysis for students? How does the analysis of paratexts complicate discussions of authorship? When asking students to create a paratext for an assignment, what skills should they learn in preparation for the assignment?

How should the paratexts they create be evaluated? What theories and definitions of the paratext are most valuable in the media studies classroom?

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The contributors to this dossier approach the teaching of paratexts from several different disciplinary, institutional, and practical vantage points. While each article introduces a distinct set of strategies for incorporating paratexts in the classroom as both object and mode of analysis, the authors share an investment in recognizing the industrial, cultural, and pedagogical value of the paratext as a text. These articles provide not only theoretical discussions of the structure and value of paratexts but also practical strategies for incorporating paratextual analysis into courses in any corner of media studies.

The dossier thus functions as both a provocation to reflect on the significance of paratexts to media studies and a toolkit for teaching students to locate, evaluate, and even create paratexts. For Lynne Stahl , paratextual analysis can provide students with not only an understanding of specific storyworlds but also the critical vocabulary they need to describe and analyze those storyworlds.

Using Scalar, she created a digital textbook to guide students through the development of this vocabulary, building on their comfort with online platforms to introduce the concepts that they will apply to their thinking about text and paratext. All of these articles take advantage of the online publication format of the teaching dossier, including links to the assignments they discuss and the paratextual examples they cite. In the final contribution to the dossier, Monika Mehta fully exploits the opportunities of online publication by presenting a video analysis of paratexts.

By exploring the defining characteristics of cult TV, The Essential Cult TV Reader traces the development of this once obscure form and explains how cult TV achieved its current status as legitimate television. The essays explore a wide range of cult programs, from early shows such as Star Trek , The Avengers , Dark Shadows , and The Twilight Zone to popular contemporary shows such as Lost , Dexter , and 24 , addressing the cultural context that allowed the development of the phenomenon.

The contributors investigate the obligations of cult series to their fans, the relationship of camp and cult, the effects of DVD releases and the Internet, and the globalization of cult TV. The Essential Cult TV Reader answers many of the questions surrounding the form while revealing emerging debates on its future. See All Customer Reviews. Shop Books. Add to Wishlist.

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USD Buy Online, Pick up in Store is currently unavailable, but this item may be available for in-store purchase. Sign in to Purchase Instantly. Overview The Essential Cult TV Reader is a collection of insightful essays that examine television shows that amass engaged, active fan bases by employing an imaginative approach to programming.

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Average Review. Write a Review. Related Searches. As an outpost of the advancing frontier, Kentucky played a crucial military role. Kentucky's state In this course we survey a number of popular American film genres, including but not limited to melodrama, the western, the musical, the war film, horror and science-fiction. Who defines genres? What are the conventions and expectations associated with various genres?

What is the cultural function of genre storytelling? Do genres change over time?

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Assignments aim to develop skills in film analysis, research and writing. Requirements include one evening screening per week. This class introduces students to the full range of production tools and forms, building both the technical and conceptual skills needed to continue at more advanced levels. Course work will include individual and group production projects, readings, and writing.

In this hands-on studio television production course, students learn professional studio methods and techniques for creating both fiction and nonfiction television programs. Concepts include lighting and set design, blocking actors, directing cameras, composition, switching, sound recording and scripting. In this course we survey four or more Hollywood film genres, including but not limited to the Western, musical, horror film, comedy, and science-fiction film.

What criteria are used to place a film in a particular genre? What role do audiences and studios play in the creation and definition of film genres? Where do genres come from? How do genres change over time? What roles do genres play in the viewing experience? What are hybrid genres and subgenres? What can genres teach us about society? Assignments aim to develop skills in critical analysis, research and writing. The beginning of the seminar will be focused on critically examining a number of theoretical approaches to the study of genre and fandom.

Building on these approaches, the remainder of the course will focus on cult television case studies from the last eight decades. We will draw on recent scholarship to explore how cult television functions textually, industrially, and culturally. Additionally, we will study fan communities on the Internet and consider how fansites, webisodes, and sites like YouTube and Netflix transform television genres.

This course is designed to explore the intersection between rock music and cinema. The scope of the class will run from the earliest rock films of the mids through contemporary examples in ten weekly subunits. This course serves as a historical and critical survey of Spanish cinema from the early s to the present.

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Topics of study will include the redefinition of Spanish identity in the post-Franco era, the rewriting of national history through cinema, cinematic representations of gender and sexuality, emergent genres, regional cinemas and identities, stars and transnational film projects, and new Spanish auteurs from the s to the present. This course is designed to introduce students to recent film history, present, and the multiple permutations of cinema around the globe. The course charts the development of national cinemas since the s while considering the effects of media consolidation and digital convergence.

Moreover, the course examines how global cinemas have reacted to and dealt with the formal influence and economic domination of Hollywood on international audiences. Class lectures, screenings, and discussions will consider how cinema has changed from a primarily national phenomenon to a transnational form in the twenty-first century. This course offers a historical survey of American television from the late s to today, focusing on early television and the classical network era. Taking a cultural approach to the subject, this course examines shifts in television portrayals, genres, narrative structures, and aesthetics in relation to social and cultural trends as well as changing industrial practices.

Reading television programs from the past eight decades critically, we interrogate various representations of consumerism, class, race, ethnicity, gender, sexuality, lifestyle, and nation in the smaller screen while also tracing issues surrounding broadcasting policy, censorship, sponsorship, business, and programming. American cinema from saw the reconfiguration of outdated modes of representation in the wake of the Hollywood studio system and an alignment of new aesthetic forms with radical political and social perspectives.

The course seeks to demonstrate that these changes in cinematic practices reflected an agenda of revitalizing American cinema as a site for social commentary and cultural change. Born as a response to the colonial gaze and discourse, African cinema has been a deliberate effort to affirm and express an African personality and consciousness. Focusing on the film production from West and Southern Africa since the early fifties, this course will entail a discussion of major themes such as colonialism, nationalism and independence, and the analysis of African symbolisms, world-views, and their links to narrative techniques.

After Americans grasped the enormity of the Depression and World War II, the glossy fantasies of s cinema seemed hollow indeed. During the s, the movies, our true national pastime, took a nosedive into pessimism. The result? A collection of exceptional films chocked full of tough guys and bad women lurking in the shadows of nasty urban landscapes. This course focuses on classic as well as neo-noir from a variety of perspectives, including genre and mode, visual style and narrative structure, postwar culture and politics, and gender and race.

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This course examines major achievements of the Russian and Soviet cinematic tradition, highlighting how the outstanding formal and thematic features of the films emerge from the cultural battles and social transformations of their particular time and place.