Watching Game of Thrones: how audiences engage with dark television
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| Main Authors: | , , |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
Manchester
Manchester University Press
2023
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| Edition: | Paperback published 2023 |
| Subjects: | |
| Online Access: | Inhaltsverzeichnis Klappentext |
| Item Description: | First published in hardback 2021 |
| Physical Description: | viii, 200 Seiten 24 cm |
| ISBN: | 1526171945 9781526171948 |
Staff View
MARC
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Record in the Search Index
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| adam_text | Contents List of tables Acknowledgements vi vii 1 The remarkable phenomenon that is Game of Thrones 2 Generating a ‘richly structured combination of data and discourses’ 3 Distinguishing different kinds of audience 4 Favourite characters, favourite survivors 5 The significance of favourite character choices 6 Winter is coming ... 7 Conflicts and controversies 8 Making predictions for an unpredictable world Postscript: ‘If you think this has a happy ending, you haven’t been paying attention’ 14 33 47 71 88 117 143 Appendix 1: The questionnaire Appendix 2: ‘Mentions’ Bibliography Index 170 173 176 196 1 158
HBO’s television adaptation of George R. R. Martin s Game of Thrones was an international sensation, generating intense debates and controversies throughout its run. This book draws on ambitious international research that used innovative methods to gather information from over 10,000 viewers of the series. It details seven distinct ways in which audiences watched the series and how these led to different responses and judgements. The book considers the claim that Game of Thrones can be seen as a lens for thinking about the world by exploring how viewers engaged with the series’ characters, lands and peoples and how they understood its world in relation to their own. It examines how some of the show’s more shocking scenes were understood and appreciated as examples of ‘extreme storytelling’ while others were angrily rejected, and it reflects on what this suggests about broader debates on television and representations of violence. And in the wake of the controversy over the show’s final series, it explores how audiences make sense of ‘endings’. Martin Barker was Emeritus Professor in the Department of Theatre, Film and Television Studies at Aberystwyth University and Visiting Professor at UWE Bristol Clarissa Smith is Professor in the Department of Arts at Northumbria University Feona Attwood edits three scholarly journals: Journal oJ Gender Studies, Se.ruulities, and Porn Studies
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Contents List of tables Acknowledgements vi vii 1 The remarkable phenomenon that is Game of Thrones 2 Generating a ‘richly structured combination of data and discourses’ 3 Distinguishing different kinds of audience 4 Favourite characters, favourite survivors 5 The significance of favourite character choices 6 Winter is coming . 7 Conflicts and controversies 8 Making predictions for an unpredictable world Postscript: ‘If you think this has a happy ending, you haven’t been paying attention’ 14 33 47 71 88 117 143 Appendix 1: The questionnaire Appendix 2: ‘Mentions’ Bibliography Index 170 173 176 196 1 158
HBO’s television adaptation of George R. R. Martin's Game of Thrones was an international sensation, generating intense debates and controversies throughout its run. This book draws on ambitious international research that used innovative methods to gather information from over 10,000 viewers of the series. It details seven distinct ways in which audiences watched the series and how these led to different responses and judgements. The book considers the claim that Game of Thrones can be seen as a lens for thinking about the world by exploring how viewers engaged with the series’ characters, lands and peoples and how they understood its world in relation to their own. It examines how some of the show’s more shocking scenes were understood and appreciated as examples of ‘extreme storytelling’ while others were angrily rejected, and it reflects on what this suggests about broader debates on television and representations of violence. And in the wake of the controversy over the show’s final series, it explores how audiences make sense of ‘endings’. Martin Barker was Emeritus Professor in the Department of Theatre, Film and Television Studies at Aberystwyth University and Visiting Professor at UWE Bristol Clarissa Smith is Professor in the Department of Arts at Northumbria University Feona Attwood edits three scholarly journals: Journal oJ'Gender Studies, Se.ruulities, and Porn Studies |
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| title | Watching Game of Thrones how audiences engage with dark television |
| title_auth | Watching Game of Thrones how audiences engage with dark television |
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| title_full | Watching Game of Thrones how audiences engage with dark television Martin Barker, Clarissa Smith and Feona Attwood |
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| title_full_unstemmed | Watching Game of Thrones how audiences engage with dark television Martin Barker, Clarissa Smith and Feona Attwood |
| title_short | Watching Game of Thrones |
| title_sort | watching game of thrones how audiences engage with dark television |
| title_sub | how audiences engage with dark television |
| topic | Game of thrones (DE-588)1024427587 gnd |
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