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Familiarity Breeds Desire: Seriality and the Televisual Title Sequence Lisa...
Opening title sequence to True Blood [view] Opening title sequences seduce, invite, prepare and inform their audiences. Frequently foregrounded and formally complex, the opening sequence can attain a...
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That’s not blood, that’s music: Dexter’s musical seriality Lisa Coulthard /...
“Red” on white In a recent article published in the journal Music, Sound and the Moving Image, Michele Hilmes questions the silence on sound and music in television studies. Arguing for the necessity...
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“We’re gonna need a montage”: musical cliche and the CSI franchise Lisa...
CSI action heroes ready for … the lab. Perhaps most thoroughly parodied in Team America:World Police’s “Montage,” the most ubiquitous film and television cliché today is the musical montage. As the...
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The Hotness of Cold Opens: Breaking Bad and the Serial Narrative as Puzzle...
Bryan Cranston loses his pants on Breaking Bad With black humour and precise attention to character development, AMC’s Emmy winning series Breaking Bad has garnered critical praise during its three...
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Drunk History and Displaced Vocality Lisa Coulthard / University of British...
Abraham Lincoln and Frederick Douglass through a drunk lens Starting as a web phenomena, making it onto HBO’s Funny or Die Presents and winning the 2010 Jury Prize for Short Film at the Sundance Film...
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“Let’s Get Stinko”: Melodrama and the Mundane in Todd Haynes’s Mildred Pierce...
Kate Winslet as the title character Mildred Pierce The first thing one notices about Todd Haynes’s HBO Mildred Pierce (April 2011) is that unlike Michael Curtiz’s 1945 film, this version does not...
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