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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".

Television series --- Television viewers --- televisie --- cult tv --- televisiereeksen --- televisieseries --- 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 --- Angel --- 791.46 --- Television series - United States --- Television series - Great Britain --- Television viewers - United States --- Television viewers - Great Britain

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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.

Vampire films --- History and criticism.

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Romantic comedy films --- Love in motion pictures. --- History and criticism.