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Dudenhoeffer L: Microbiology and Horror
Cinema

Microbiology and Horror Cinema

Magic Rays of Light is an original and ambitious history of the largely unknown early years of television in Britain. A detailed cultural study of the first demonstrations, of the extensive experimental broadcasts between 1928 and 1935, and of the BBC's richly varied daily service starting in November 1936 from Alexandra Palace, the book overturns the popular mis-conception that television in Britain effectively began with Elizabeth II's Coronation in 1953. In tracing this history, John Wyver chronicles the process by which a technology became a medium. He argues that much of what that television as we knew it in the late twentieth century was created within the fluid and at times unstable forms of the interwar medium. Most fundamentally the basics of television's screen language and grammar were developed. As this emerged, television drama flourished in the staging of more than 400 plays, from Shakespeare and Agatha Christie to Pirandello and P.G. Wodehouse, starring luminaries including Laurence Olivier, Sybil Thorndike and Peggy Ashcroft. Outside broadcasts of state occasions, and of Wimbledon and Test matches, were pioneered, along with transmissions of the Derby (from 1931 onwards) and the FA Cup Final. Light entertainment formats, quiz shows and the direct ancestor of countless magazine programmes were devised, alongside ambitious presentations of classical ballet and grand opera. As a striking counterpoint to this story, Magic Rays of Light also celebrates the inchoate, indeterminate nature of interwar television. In certain key ways, from the first imaginaries and sci-fi visions of television, and in aspects of how it was made, of what was produced and how this was seen, early television was entirely distinct from what the medium later became. The book reveals television's forgotten pasts and unrealised futures, including the low resolution, vertical format transmissions of John Logie Baird's first systems, and the live, large-screen electronic projection systems known as 'cinema television'. Relaying sports events and pageantry to cinemas, this pre-war sensation was seen by the BBC as a serious threat to its monopoly. By attending closely to the transmissions of the first fifteen years, to the emerging medium's industrial context, and to its intermedial links with radio, theatre, cinema, music hall, sport and more, Magic Rays of Light illuminates television's place in the cultural and social histories of Britain between the wars.

The Early Years of Television in Britain

Magic Rays of Light

London, 1883. Der sechzehnjährige Silas Bell ist trans und würde sich lieber seine violetten Augen ausreißen, als eine gehorsame Speaker-Ehefrau zu werden. Doch es spielt keine Rolle, dass er ein Junge ist und nicht das Mädchen, das die Welt unbedingt in ihm sehen will. Nach einem gescheiterten Versuch, einer arrangierten Ehe zu entkommen, wird bei Silas die Schleierkrankheit diagnostiziert - eine mysteriöse Krankheit, die violettäugige Frauen in den Wahnsinn treibt - und er wird in das Braxton-Sanatorium verfrachtet. Als die Geister vermisster Schüler Silas um Hilfe bitten, beschließt er, in Braxtons Inneres vorzudringen und der Welt dessen Eingeweide zu zeigen - vorausgesetzt, die Schule wird ihn nicht vorher zerstören.

Der Tod besiegt alles

The Spirit Bares Its Teeth

Treat Yo Self to the Inside Story of America's Great Underdog Sitcom

Parks and Rec

Encyclopedia of Livestock Medicine for Large Animal and Poultry Production

The Persistence of Television examines more than 60 years of television to identify the elements that have entertained and informed viewers from the beginning of mass broadcasting to the present day, proposing that most television viewing is rooted in traditional programming that is still largely received in conventional ways. 
The book includes the discussion of popular shows such as Doctor Who, Twin Peaks, Who Wants to be a Millionaire and David Attenborough's nature documentaries. On-screen faces, programmes and genres drawn from British, American and Australian television services are examined to demonstrate how continuity persists in the face of change. There's no denying the excitement or the value of the new, but the authors of this book argue that it runs in tandem with enduring aspects of the already existing.

The Persistence of Television examines more than 60 years of television to identify the elements that have entertained and informed viewers from the beginning of mass broadcasting to the present day, proposing that most television viewing is rooted in traditional programming that is still largely received in conventional ways. 
The book includes the discussion of popular shows such as Doctor Who, Twin Peaks, Who Wants to be a Millionaire and David Attenborough’s nature documentaries. On-screen faces, programmes and genres drawn from British, American and Australian television services are examined to demonstrate how continuity persists in the face of change. There's no denying the excitement or the value of the new, but the authors of this book argue that it runs in tandem with enduring aspects of the already existing.

People, Programmes and Practices that Endure

The Persistence of Television

Horror Studies

Blending folklore studies, media theory, horror criticism and cultural geography, this collection charts an unprecedented map of urbanlegend storytelling, from haunted cemeteries to pixelated backrooms. Across three themed sections, international scholars trace how tales of hookhanded killers and countless other spectres migrate through oral tradition, cinema, television, board games and video games, to continually reshape the fears and identities of the communities that share them. By foregrounding space the cemetery, the highway, the small town, the livestreamed haunted house as a dynamic agent rather than passive backdrop, the book reveals how legends build cultural memory, police social boundaries and critique neoliberal landscapes. Interdisciplinary, globally-scoped and mediaagnostic, this volume moves beyond folkloric catalogues and genre surveys to show precisely where horror lives today and why those locations matter.

and the Cultural Geography of Horror

Urban Legends

The Age of Liberal Revolution on Screen

The Filmmaker as Historian

Happy Sugar Life

Unruhestifter müssen beseitigt werden - so lautet Satos eiskalte Devise, wenn es darum geht, ihre unheilvolle Besessenheit mit der kleinen Shio zu schützen. Als ihre Kollegin Shoko langsam Verdacht schöpft und Sato zur Rede stellt, muss schnell ein Plan her. Denn um Shios Entführung zu vertuschen und ihr gemeinsames "Happy Sugar Life" aufrechtzuerhalten, geht Sato wortwörtlich über Leichen. Und sie macht auch vor ihren besten Freunden nicht Halt ...

Happy Sugar Life 4

Haikaisha

Shu musste hilflos mitansehen, wie sich seine Freundin Tsukiko aus ihm unerfindlichen Gründen immer weiter zurückzog. Als sie schließlich vor den Trümmern ihrer Beziehung stand, gestand sie ihm die Wahrheit ... und wurde verlassen. Von Zweifeln geplagt, stellt Shu nun eigene Ermittlungen an - die ihn direkt in die Arme des grotesken Bahnwärters führen. In einem Wettlauf gegen die Zeit wagen sich nun Tsukiko und ihre Mitstreiter ins Revier des Feindes, denn dies könnte die letzte Chance sein, den Fluch des Grenzgängers zu brechen!

Haikaisha – Der Grenzgänger 3

Perspectives on Fantasy

The first book-length exploration of femflash fanfiction and its implications for wider fan communities, this text presents new theories of queer, fan, and fantasy time based on fan-authored works inspired by characters from ABC's Once Upon a Time.

Femslash Authorship and the Swan Queen Ship

Fanfiction as Queer Healing

SUNY series in Italian/American Culture

Fantasy, Horror, and Science Fiction from Pinocchio to Star Trek

Italian/American Fantastika

Digital Culture & Society

Technologies and technological futures are always socially situated, relational, and enmeshed in (dominant) narratives of societal sense-making, which have the power to bring future ideas into material existence. The issue brings together articles exploring popular techno-futures from international and interdisciplinary perspectives, including cultural and media studies, science and technology studies, and related disciplines. The contributors decenter the discussion on socio-technical futures and the role of popular culture, aesthetics and media in their (re)production by focusing on societal tech-future discourses from global popular perspectives.

Vol. 11, Issue 2/2025 – Towards Popular Techno-Futures: A Global Culture Perspective

Digital Culture & Society (DCS)

Microbiology and Horror Cinema

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