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Informationen zum Autor Roberta Pearson is a Professor of Film and Television Studies and Director of the Institute of Film and Television Studies, University of Nottingham. She has authored, co-authored and co-edited numerous books and articles including the co-edited 'Cult Television' (2004) and several essays on 'Star Trek'. She is currently editing Blackwells 'Companion to Television Genres'. Klappentext "Lost", created by wunderkind J.J. Abrams and aired on the US ABC network and Sky in the UK, began in 2004 and will end after its sixth season in 2010, hopefully with the answers to myriad questions. This book not only offers a rich understanding of the multi-media phenomenon that is "Lost", but is also a valuable demonstration of how the contemporary American television industry works. "Lost" is perfectly designed to serve the new multi-channel, 'multi-plaform' mediascape.Its cinematic visuals and complex narrative place it above the competition, its international cast and ostensibly worldwide locations (actually Hawaii's Oahu island) give it global distribution. "Lost" continues to fascinate - and mystify (that polar bear, that four-toed statue) - today's technologically savvy 'forensic fandom', whose members mobilise i-Pods and cell phones to watch episodes and revel in the complexities of 'The Lost Experience'. These and many more issues involving "Lost's" production, distribution, narrative, and audiences are addressed by this essential book. Zusammenfassung "Lost", created by wunderkind J.J. Abrams and aired on the US ABC network and Sky in the UK, began in 2004 and will end after its sixth season in 2010, hopefully with the answers to myriad questions. This book not only offers a rich understanding of the multi-media phenomenon that is "Lost", but is also a valuable demonstration of how the contemporary American television industry works. "Lost" is perfectly designed to serve the new multi-channel, 'multi-plaform' mediascape.Its cinematic visuals and complex narrative place it above the competition, its international cast and ostensibly worldwide locations (actually Hawaii's Oahu island) give it global distribution. "Lost" continues to fascinate - and mystify (that polar bear, that four-toed statue) - today's technologically savvy 'forensic fandom', whose members mobilise i-Pods and cell phones to watch episodes and revel in the complexities of 'The Lost Experience'. These and many more issues involving "Lost's" production, distribution, narrative, and audiences are addressed by this essential book. Inhaltsverzeichnis Table of Contents Roberta Pearson Introduction: Why Lost? Production/audiences Stacey Abbott How Lost Found its Audience: The Making of a Cult Blockbuster Derek Johnson The Fictional Institutions of Lost: World Building, Reality, and the Economic Possibilities of Narrative Divergence Will Brooker Television Out of Time: Watching Cult Shows On Download Julian Stringer The Gathering Place: Lost in Oahu Paul Grainge Lost logos: Channel 4 and the Branding of American Event Television Text Jason Mittell Lost in a Great Story: Evaluation in Narrative Television (and Television Studies) Roberta Pearson Chain of Events: Regimes of Evaluation and Lost's Construction of the Televisual Character Ivan Askwith 'Do you even know where this is going?': Lost's Viewers and Narrative Premeditation Angela Ndalianis Lost in Genre: Chasing the White Rabbit to Find a White Polar Bear Representation Michael Newbury Lost in the Orient: Transnationalism Interrupted Jonathan Gray We're Not in Portland Anymore: Lost and Its International Others Celeste-Marie Bernier 'A fabricated Africanist persona': Race, Representation, and Narrative Experimentation in Lost Glyn Davis and Gary Needham Queer(ying) Lost Contributors...
