Watching Game of Thrones: How audiences engage with dark television
Game of Thrones was an international sensation, and has been looked at from many different angles. But to date there has been little research into its audiences: who they were, how they engaged with and responded to it. This book presents the findings of a major international research project that garnered more than 10,000 responses to an innovative 'qualiquantitative' questionnaire. Among its findings are: a new way of understanding the place and role of favourite characters in audiences’ responses; new insights into the role of fantasy in encouraging thinking about our own world; and an account of two combined emotions – relish and anguish – which structure audiences’ reactions to controversial elements in the series.
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Watching Game of Thrones: How audiences engage with dark television
Game of Thrones was an international sensation, and has been looked at from many different angles. But to date there has been little research into its audiences: who they were, how they engaged with and responded to it. This book presents the findings of a major international research project that garnered more than 10,000 responses to an innovative 'qualiquantitative' questionnaire. Among its findings are: a new way of understanding the place and role of favourite characters in audiences’ responses; new insights into the role of fantasy in encouraging thinking about our own world; and an account of two combined emotions – relish and anguish – which structure audiences’ reactions to controversial elements in the series.
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Watching <i>Game of Thrones</i>: How audiences engage with dark television

Watching Game of Thrones: How audiences engage with dark television

Watching <i>Game of Thrones</i>: How audiences engage with dark television

Watching Game of Thrones: How audiences engage with dark television

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Overview

Game of Thrones was an international sensation, and has been looked at from many different angles. But to date there has been little research into its audiences: who they were, how they engaged with and responded to it. This book presents the findings of a major international research project that garnered more than 10,000 responses to an innovative 'qualiquantitative' questionnaire. Among its findings are: a new way of understanding the place and role of favourite characters in audiences’ responses; new insights into the role of fantasy in encouraging thinking about our own world; and an account of two combined emotions – relish and anguish – which structure audiences’ reactions to controversial elements in the series.

Product Details

ISBN-13: 9781526171948
Publisher: Manchester University Press
Publication date: 06/27/2023
Pages: 208
Product dimensions: 6.14(w) x 9.21(h) x 0.44(d)

About the Author

Martin Barker was Emeritus Professor in the Department of Theatre, Film and Television Studies at Aberystwyth Universityand Visiting Professor at UWE Bristol
Clarissa Smith is Professor in the Department of Arts at Northumbria University
Feona Attwood edits three scholarly journals: Journal of Gender Studies, Sexualities, and Porn Studies

Table of Contents

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’
Index

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