Since the release of Christopher Nolan’s Batman Begins in 2005, there has been a pronounced surge in alternative uses of the computer term ‘reboot,’ a surge that has witnessed the term deployed in new contexts and new signifying practices, involving politics, fashion, sex, nature, sport, business, and media. As a narrative concept, however, reboot terminology remains widely misused, misunderstood, and misinterpreted across popular, journalistic, and academic discourses, being recklessly and relentlessly solicited as a way to describe a broad range of narrative operations and contradictory groupings, including prequels, sequels, adaptations, revivals, re-launches, generic ‘refreshes,’ and enactments of retroactive continuity. Adopting an inter-disciplinary approach that fuses cultural studies, media archaeology, and discursive approaches, this book challenges existing scholarship on the topic by providing new frameworks and taxonomies that illustrate key differences between reboots and other ‘strategies of regeneration,’ helping to spotlight the various ways in which the culture industries mine their intellectual properties in distinct and novel ways to present them anew. Reboot Culture: Comics, Film, Transmedia is the first academic study to critically explore and interrogate the reboot phenomenon as it emerged historically to describe superhero comics that sought to jettison existing narrative continuity in order to ‘begin again’ from scratch.of franchising in the twenty-first century. of franchising in the twenty-first century. /div

Packed with hands-on activities, this practical handbook shows you how to be the transformational leader your school needs to enact a culture change and improve student outcomes.

A warm, witty, and heartfelt retelling of ancient legend in pointedly modern terms. Roderick MacLeish's Prince Ombra has become a modern classic of its kind, taking its place beside such works as The Phantom Tollbooth and The Neverending Story as an outstanding example of modern myth-making at its best.

Remakes are pervasive in today’s popular culture, whether they take the form of reboots, “re-imaginings,” or overly familiar sequels. Television remakes have proven popular with producers and networks interested in building on the nostalgic capital of past successes (or giving a second chance to underused properties). Some TV remakes have been critical and commercial hits, and others haven’t made it past the pilot stage; all have provided valuable material ripe for academic analysis. In Remake Television: Reboot, Re-use, Recycle, edited by Carlen Lavigne,contributors from a variety of backgrounds offer multicultural, multidisciplinary perspectives on remake themes in popular television series, from classic cult favorites such as The Avengers (1961–69) and The X-Files (1993–2002) tocurrent hits like Doctor Who (2005–present) and The Walking Dead (2010–present). Chapters examine what constitutes a remake, and what series changes might tell us about changing historical and cultural contexts—or about the medium of television itself.

Bringing together the latest developments in the study of serial formatting practices - remakes, sequels, series - Film Reboots is the first edited collection to specifically focus on the new millennial phenomenon of rebooting. Through a set of vibrant case studies, this collection investigates rebooting as a practice that seeks to remake an entire film series or franchise, with ambitions that are at once respectful and revisionary. Examining such notable examples as Batman, Ghostbusters, and Star Trek, among others, this collection contends with some of the most important features of contemporary film and media culture today.

Introduction to Scream is an upcoming horror movie directed by Matt Bettinelli-Olpin and Tyler Gillett. This movie is planned to be the fifth installment in the Scream franchise, which began in 1996. Neve Campbell, Courteney Cox, and David Arquette will reprise their roles as Sidney Prescott, Gale Weathers, and Dewey Riley, respectively. Along with the original cast members, the movie will also feature new characters played by Jack Quaid, Melissa Barrera, and Jenna Ortega, among others. The plot of Introduction to Scream revolves around a series of murders in a small town, which bear a striking resemblance to the killings depicted in the original Scream movies. Sidney, Gale, and Dewey return to their hometown to investigate the murders, and they are soon joined by a new group of teenagers who become targets of the killers. The movie promises to be a modern take on the classic slasher genre, with meta-humor, suspense, and some scares. Fans of the franchise are eagerly anticipating the release of Introduction to Scream, which is set to hit theaters in January 2022.

Transparent made history as the first television show to feature a transgender character in the main role, as the first streaming series to win the Golden Globe for Best Television Series, and as, in the words of journalist Debra Nussbaum Cohen, “the Jewiest show ever.” No television show in history has depicted the lives of American Jews with as much attention to Jewish rituals, quirks, or culture. And no series has portrayed issues of gender and sexuality alongside Judaism with such nuance and depth, making Transparent a landmark series in the history of television. Blessings beyond the Binary brings together leading scholars to analyze and offer commentary on what scholar Josh Lambert calls “the most important work of Jewish culture of the century so far.” The book explores the show’s depiction of Jewish life, religion, and history, as well as Transparent’s scandals and criticisms and how it fits into and diverges from today’s transgender and queer politics. The first book to focus on Transparent, Blessings beyond the Binary offers a rich analysis of the groundbreaking series and its connections to contemporary queer, trans, and Jewish life.

This collection is the first to offer a close study of fan generations, which are defined not only by fans’ ages, but by their entry point into a canon or their personal politics. The contributors further the conversation about how generational fandom is influenced by and, in turn, influences technologies, industry practices, and social and political changes. As reboot culture continues, as franchises continue expanding over time, and as new technologies enable easier access to older media, Fandom, the Next Generation offers a necessary investigation into transgenerational fandoms and intergenerational fan relationships. Contributors: Maria Alberto, University of Utah Mélanie Bourdaa, University of Bordeaux Montaigne Meredith Dabek, Maynooth University Simone Driessen, Erasmus University Rotterdam Yektanurşin Duyan, Mardin Artuklu University Dan Golding, Swinburne University of Technology Bethan Jones, Aberdale, Wales (UK) Siobhan Lyons, Sydney, New South Wales (Australia) L. N. Rosales, University of Nebraska, Lincoln Andrew Scahill, University of Colorado, Denver Janelle Vermaak, Nelson Mandela University Cynthia W. Walker, St. Peter’s University Dawn Walls-Thumma, independent scholar Neta Yodovich, University of Haifa

Focusing on programs from the 1970s to the early 2000s, this volume explores televised youth horror as a distinctive genre that affords children productive experiences of fear. Led by intrepid teenage investigators and storytellers, series such as Scooby-Doo! Mystery Incorporated and Are You Afraid of the Dark? show how young people can effectively confront the terrifying, alienating, and disruptive aspects of human existence. The contributors analyze how televised youth horror is uniquely positioned to encourage young viewers to interrogate—and often reimagine—constructs of normativity. Approaching the home as a particularly dynamic viewing space for young audiences, this book attests to the power of televised horror as a domain that enables children to explore larger questions about justice, human identity, and the preconceptions of the adult world.

Today’s convergent media industries readily produce stories that span multiple media, telling the tales of superheroes across comics, film and television, inviting audiences to participate in the popular universes across cinema, novels, the Web, and more. This transmedia phenomenon may be a common strategy in Hollywood’s blockbuster fiction factory, tied up with digital marketing and fictional world-building, but transmediality is so much more than global movie franchises. Different cultures around the world are now making new and often far less commercial uses of transmediality, applying this phenomenon to the needs and structures of a nation and re-thinking it in the form of cultural, political and heritage projects. This book offers an exploration of these national and cultural systems of transmediality around the world, showing how national cultures – including politics, people, heritage, traditions, leisure and so on – are informing transmediality in different countries. The book spans four continents and twelve countries, looking across the UK, Spain, Portugal, France, Estonia, USA, Canada, Colombia, Brazil, Japan, India, and Russia.