Book Reviews

in Projections
Author:
Jessica Bay PhD candidate, York & Ryerson Universities, CA jbayjessica@gmail.com

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Alaina Schempp University of Birmingham, UK a.p.schempp@bham.ac.uk

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Daniela Schlütz Film University Babelsberg, KONRAD WOLF, Germany d.schluetz@filmuniversitaet.de

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R. Colin Tait Texas Christian University, USA r.c.tait@tcu.edu

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DOI:
https://doi.org/10.3167/proj.2021.150106
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Smith, Anthony N., Storytelling Industries: Narrative Production in the 21st Century. London: Palgrave MacMillan, 2018, 266 pp., $59.99 (eBook), ISBN: 978-3-319-70597-2.

Harrod, Mary, and Katarzyna Paszkiewicz, eds., Women Do Genre in Film and Television. New York: Routledge, 2018, 266 pp., $39.16 (paperback), ISBN: 9780367889845.

García, Alberto N. ed., Emotions in Contemporary TV Series. New York: Palgrave Macmillan, 2016, 253 pp., $89.00, ISBN: 978-1-137-56885-4.

Dunleavy, Trisha. Complex Serial Drama and Multiplatform Television. New York: Routledge, 2019, 202 pp., $46.95, ISBN: 9781138927759.

Contributor Notes

Jessica Bay is a PhD candidate in the Joint Communication & Culture program at York & Ryerson Universities. Her current research examines the marketing strategies of Hollywood franchises in relation to teen fangirls and their practices. E-mail: jbayjessica@gmail.com

Alaina Schempp is Lecturer in Film at the University of Birmingham. She is currently working on a monograph on the poetics of time and timing in contemporary suspense, horror, and comic film. E-mail: a.p.schempp@bham.ac.uk

Daniela Schlütz is Professor of Theory and Empiricism of Digital Media at the Film University Babelsberg KONRAD WOLF. Among her research interests are reception and entertainment research (particularly Quality TV and serial formats), narrative persuasion, and methods of empirical social research. E-mail: d.schluetz@filmuniversitaet.de

R. Colin Tait is an Assistant Professor of Film, Television and Digital Media at Texas Christian University. He is the co-author of The Cinema of Steven Soderbergh: Indie Sex, Corporate Lies and Digital Videotape (Columbia UP, 2013), and is currently writing a comprehensive history of Robert De Niro's acting career in the 1970s. Email: r.c.tait@tcu.edu

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Projections

The Journal for Movies and Mind

Cover Projections
Article Category:
Book Review
Page Count:
18
Print Publication Date:
01 Mar 2021
Online Publication Date:
01 Mar 2021
Copyright:
© The Author/s 2021

  • Baker, Djoymi. 2017. “Binge-Viewing as Epic-Viewing in the Netflix Era.” In The Age of Netflix: Critical Essays on Streaming Media, Digital Delivery and Instant Access, ed. Cory Barker and Myc Wiatrowski, 31–54. Jefferson, NC: McFarland & Company.

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  • Simons, Jan. 2007. “Narrative, Games, and Theory.” Game Studies 7 (1). http://gamestudies.org/07010701/articles/simons.

  • Bordwell, David, Kristin Thompson, and Janet Staiger. 1988. The Classical Hollywood Cinema: Film Style and Mode of Production to 1960. London: Routledge.

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  • Dunham, Lena. 2014. Not That Kind of Girl. New York: Random House.

  • Freeland, Cynthia A. (1996) 2004. “Feminist Frameworks for Horror Films.” In Film Theory and Criticism: Introductory Readings, 6th ed., ed. Leo Braudy and Marshall Cohen, 742–763. Oxford: Oxford University Press.

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  • Gehring, Wes D. 1988. “Black Humor.” In Handbook of American Film Genres, ed. Wes D. Gehring, 167–188. New York: Greenwood Press.

  • Gledhill, Christine, ed. 2012. Gender Meets Genre in Postwar Cinemas. Urbana: Illinois University Press.

  • Hutchings, Peter. 1993. “Masculinity and the Horror Film.” In You Tarzan: Masculinity, Movies and Men, ed. Pat Kirkham and Janet Thumim, 84–94. New York: St. Martin's Press.

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  • Mobley, Jennifer-Scott. 2014. Female Bodies on the American Stage: Enter Fat Actress. Basingstoke: Palgrave Macmillan.

  • Rowe Karlyn, Kathleen. 1995. The Unruly Woman: Gender and the Genres of Laughter. Austin: University of Texas Press.

  • Smith, Frances, and Timothy Shary, eds. 2016. ReFocus: The Films of Amy Heckerling. Edinburgh: Edinburgh University Press.

  • Haraway, Donna. 1988. “Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective.” Feminist Studies 14 (3): 575–599. https://doi.org/10.2307/3178066.

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  • McCabe, Janet, and Kim Akass, eds. 2007. Quality TV: Contemporary American Television and Beyond. London: Tauris.

  • Rosa, Hartmut. 2018. “Available, Accessible, Attainable: The Mindset of Growth and the Resonance Conception of the Good Life.” In The Good Life Beyond Growth: New Perspectives, ed. Hartmut Rosa and Christoph Henning, 39–53. London: Routledge, 2018.

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  • Schlütz, Daniela. 2015. “Contemporary Quality TV: The Entertainment Experience of Complex Serial Narratives.” Annals of the International Communication Association 40 (1): 95–124. http://doi.org/10.1080/23808985.2015.11735257

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  • Smith, Murray. 1995. Engaging Characters: Fiction, Emotion, and the Cinema. New York: Oxford University Press.

  • Tan, Ed S. 1996. Emotion and the Structure of Narrative: Film as an Emotion Machine. Mahwah, NJ: LEA.

  • Williams, Raymond. Marxism and Literature. Oxford: Oxford UP, 1977.

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