Relevant bibliographies by topics / Supernatural on television

Academic literature on the topic 'Supernatural on television'

Author: Grafiati
Published: 27 July 2024
Last updated: 29 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Contents

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Supernatural on television.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Supernatural on television"

1

Kruuse, Kristiina, and Veronika Kalmus. "Supernatural Creatures, Accidents, and War." Television & New Media 18, no. 3 (August 1, 2016): 252–68. http://dx.doi.org/10.1177/1527476416652692.

Full text
Abstract:
This study explored preschool children’s television-related fears through a general study of children’s television-viewing habits. Based on semi-structured interviews with eighteen Estonian preschoolers, the results showed that young children’s fears were represented not only in adult programs but also in seemingly child-friendly cartoons through which children tended to see the fictional story as real. However, children were not passive victims: they took an active role in diminishing their television-related fears by using various coping strategies, including peer mediation. These results support the notion that children are second-level mediators who share with their peers both their own experiences and what their parents have taught them about television.
APA, Harvard, Vancouver, ISO, and other styles
2

Wali, Rujum, Husin Anang Kabalmay, and Husen Maswara. "Penayangan Acara Supranatural di Media Televisi (Tinjauan Hukum Islam)." HORIZON: Indonesian Journal of Multidisciplinary 1, no. 1 (April 30, 2023): 44–57. http://dx.doi.org/10.54373/hijm.v1i1.74.

Full text
Abstract:
Supernatural shows are a type of film that is played on television media and contains mystical elements in it. The airing of supernatural shows so far contains many elements that are not educational, because many scenes are not suitable for airing. The purpose of this study is to determine the efforts to broadcast supernatural programs that develop on television media in terms of Islamic law and its impact on society. The type of research used in this study is using the type of library research (Library Research), which is research carried out by reviewing and analyzing books, scientific papers, journals, and articles of a scientific nature. Based on the results of data analysis, it was found that the process of airing supernatural shows on television media when viewed from Islamic law, then the process of airing is prohibited. Because. Supernatural shows aired on television media have a negative impact both in terms of psychology of people who watch them and from a social perspective. In terms of psychology, the airing of supernatural shows has an impact on the emergence of fear in a person and can affect child development. While from a social point of view, the process of airing supernatural shows affects the Islamic creed, namely one's belief in Allah can be disrupted and begin to obscure
APA, Harvard, Vancouver, ISO, and other styles
3

Valenzano, Joseph M., and Erika Engstrom. "Homilies and Horsemen: Revelation in the CW’s Supernatural." Journal of Communication and Religion 36, no. 1 (2013): 50–72. http://dx.doi.org/10.5840/jcr20133613.

Full text
Abstract:
In recent years, religious-themed media about the end of the world offering interpretations of the Book of Revelation have become popular. On television, the CW’s Supernatural featured a storyline that involved a fight between Heaven and Hell, leading to an eventual Apocalypse. We examine how television’s depictions of religion in modern American culture serve as contemporary Christian homilies by exploring this program’s Apocalypse story arc, informed by Revelation 6:2-8. The depiction of a Christian-based story that never featured Christ nevertheless provided the audience with a message about life grounded in Biblical lessons, essentially serving the purpose of a homily that one might hear in a church on a Sunday morning. In addition to broadening our understanding of how homilies function in a mediated world, we discuss how this religious-themed television show has managed to stay on the air when so many others have failed.
APA, Harvard, Vancouver, ISO, and other styles
4

Łuksza, Agata. "Boy Melodrama: Genre Negotiations and Gender-Bending in the Supernatural Series." Text Matters, no. 6 (November 23, 2016): 177–94. http://dx.doi.org/10.1515/texmat-2016-0011.

Full text
Abstract:
For years Supernatural (CW, 2005–) has gained the status of a cult series as well as one of the most passionate and devoted fandoms that has ever emerged. Even though the main concept of the series indicates that Supernatural should appeal predominantly to young male viewers, in fact, the fandom is dominated by young women who are the target audience of the CW network. My research is couched in fan studies and audience studies methodological perspectives as it is impossible to understand the phenomenon of Supernatural without referring to its fandom and fan practices. However, it focuses on the series’ structure in order to explain how this structure enables Supernatural’s viewers to challenge and revise prevailing gender roles. Supernatural combines elements of divergent TV genres, traditionally associated with either male or female audiences. It opens up to gender hybridity through genre hybridity: by interweaving melodrama with horror and other “masculine” genres the show provides a fascinating example of Gothic television which questions any simplistic gender identifications.
APA, Harvard, Vancouver, ISO, and other styles
5

Koszela, Aleksandra. "The Leviathans in the Television Series ‟Supernatural”." Literatura i Kultura Popularna 22 (September 6, 2017): 101–9. http://dx.doi.org/10.19195/0867-7441.22.7.

Full text
Abstract:
The Leviathans in the Television Series ‟Supernatural”The paper is an attempt to describe leviathans appearing in “Supernatural” TV series in ref­erence to their archetype known from Judeo-Christian tradition. Originally they were portrayed as a fearsome sea monsters which had extraordinary strength. Leviathans known from “Supernatural” are seemingly showing only slight resemble to monsters known from holy scriptures or legends. They look like people and — if they want to — they can blend in and behave like a normal mortal. However, they have a lot in common with archaic image of this monsters: cruelty, brutality and arro­gance that leviathans manifest to the human kind make them the epitome of chaos and the example of original Evil.
APA, Harvard, Vancouver, ISO, and other styles
6

Darwish, Ibrahim, and Noora Abu Ain. "Foul Language on Arabic Television: A Case Study of the First Jordanian Arabic Netflix Series." Academic Journal of Interdisciplinary Studies 9, no. 1 (January 10, 2020): 83. http://dx.doi.org/10.36941/ajis-2020-0007.

Full text
Abstract:
This study explores the controversial use of taboo language in Jinn, the first original Jordanian Arabic supernatural Netflix series. Taboo words uttered in each episode of Season 1 of the series (length=159 minutes) were compiled, quantified and categorised according to Ljung’s (2011) thematic categorisation. The results show that 75% of the taboo words fall under ‘major themes’ (scatological (31%), religious/supernatural (20%), sexual activity (12%), sex organ (9%) and mother (3%)) and 25% fall under ‘minor themes’ (prostitution (16%) and animals (9%)) in Ljung’s (2011) thematic divisions. Furthermore, the results show that the first episode has the greatest concentration of taboo words (55%). We argue that the writers/producers intentionally condensed the majority of the taboo words under investigation into the first episode in order to attract the attention of the largest viewership possible because they were aware of how polemical the issue of uttering Jordanian Arabic taboo words on screen was. Finally, it is evident that Jordanian society is still conservative when it comes to using/hearing taboo words in Jordanian cinema and television as demonstrated by the angry reaction of Jordanians in the press, television and social media.
APA, Harvard, Vancouver, ISO, and other styles
7

Neal, Lynn S. "Review: Television, Religion, and Supernatural by Erika Engstrom and Joseph M. Valenzano III." Nova Religio 20, no. 1 (August 1, 2016): 131–32. http://dx.doi.org/10.1525/novo.2016.20.1.131.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Moldovan, Raluca. "“That Show You Like Might Be Coming Back in Style”: How Twin Peaks Changed the Face of Contemporary Television." American, British and Canadian Studies Journal 24, no. 1 (June 1, 2015): 44–68. http://dx.doi.org/10.1515/abcsj-2015-0003.

Full text
Abstract:
Abstract The present study revisits one of American television’s most famous and influential shows, Twin Peaks, which ran on ABC between 1990 and 1991. Its unique visual style, its haunting music, the idiosyncratic characters and the mix of mythical and supernatural elements made it the most talked-about TV series of the 1990s and generated numerous parodies and imitations. Twin Peaks was the brainchild of America’s probably least mainstream director, David Lynch, and Mark Frost, who was known to television audiences as one of the scriptwriters of the highly popular detective series Hill Street Blues. When Twin Peaks ended in 1991, the show’s severely diminished audience were left with one of most puzzling cliffhangers ever seen on television, but the announcement made by Lynch and Frost in October 2014, that the show would return with nine fresh episodes premiering on Showtime in 2016, quickly went viral and revived interest in Twin Peaks’ distinctive world. In what follows, I intend to discuss the reasons why Twin Peaks was considered a highly original work, well ahead of its time, and how much the show was indebted to the legacy of classic American film noir; finally, I advance a few speculations about the possible plotlines the series might explore upon its return to the small screen.
APA, Harvard, Vancouver, ISO, and other styles
9

Kienzl, Lisa. ""You're My True Vessel": Knowledge and Digital Fan Culture Discussed on the Basis of Mediumship and Possession in Supernatural's Narrative and Fandom." Journal of Religion, Media and Digital Culture 3, no. 1 (December 6, 2014): 155–80. http://dx.doi.org/10.1163/21659214-90000044.

Full text
Abstract:
Portrayals of mediumship in modern Western television narratives need to be seen as part of a broader phenomenon of the presence of religious elements in Western media, a phenomenon I argue expresses a longing for grand narratives in contemporary Western society. The portrayal and mediatization of religious elements in television narratives as well as their discussion in digital fan culture are part of what I would call a transformation process of knowledge and in particular knowledge of religious phenomena. More specifically, digital fan culture allows for an engagement with discursive transformation processes of knowledge and thus influences what is perceived as knowledge in society. Therefore, religious studies needs to pay closer attention to television narratives and the way fans interact with these narratives to create knowledge about religious practices. This article focuses on how the elements of “possession” and “mediumship” are being transformed by the US American TV series Supernatural and its fan culture. I argue that we can see at least two transformation processes here: the transformation and transplantation of religious concepts and practices (in the case of this article the idea of the human body as spirit medium) into a television context, and the transformation of these concepts and practices through digital fan culture. In its discussion of fan culture, the article looks at and analyzes fan based websites and how they present, discuss and imagine the body-medium.
APA, Harvard, Vancouver, ISO, and other styles
10

Ehab El-Qushayri, Amr, and Amira Yasmine Benmelouka. "Sociodemographic predictors of beliefs about getting HIV infection by witchcraft or supernatural means: A population-based study of 15335 Senegalese women." African Health Sciences 24, no. 1 (April 1, 2024): 36–41. http://dx.doi.org/10.4314/ahs.v24i1.6.

Full text
Abstract:
Aim: To provide more insights about beliefs of witchcraft and supernatural means as causes of human immunodeficiency virus(HIV) among women in Senegal. Method: We included eligible women from the demographic and health survey conducted in Senegal during the year 2017. Results: We included 15335 women, of those 620 (4%) thought that they can get HIV through witchcraft or supernaturalmeans. After the adjustment of all available covariates, old age, receiving primary or secondary education, higher wealth index,more frequency of listening to radio, watching television for less than once a week and reading newspaper or magazine for atleast once a week were significantly associated with a reduction in the witchcraft and supernatural means beliefs (p < 0.05).Moreover, rural residence was associated with an increase in the wrong HIV beliefs (p < 0.05). Conclusion: We demonstrated many predictors of the wrong beliefs about getting HIV infection by witchcraft or supernaturalmeans in the Senegalese women. Policymakers should initiate health educational programs in parallel with increasing thesocioeconomic status to limit the HIV transmission. In addition, continuous monitoring of the HIV knowledge in the endemiccountries is crucial to decrease HIV burden. Keywords: HIV; infection; witchcraft; misconception; myths.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Supernatural on television"

1

Costa, Sarah Moralejo da [UNESP]. "Supernatural na web: produção e reprodução audiovisual em suporte convergente." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/89376.

Full text
Abstract:
Made available in DSpace on 2014-06-11T19:24:02Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-07-26Bitstream added on 2014-06-13T20:51:13Z : No. of bitstreams: 1 costa_sm_me_bauru.pdf: 783771 bytes, checksum: f6115841d14868eb3c59d33eab2dfea9 (MD5)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
A diversidade de suportes e mídias que povoam o mercado tecnológico atualmente desperta preocupações por parte dos produtores de conteúdo cultural comercial devido principalmente à necessidade de atender a um novo público que busca cada vez mais interagir com narrativas, com os produtores e com demais consumidores. A web, com suas ferramentas de interatividade e construção coletiva de conhecimento, se destaca como ponto de união de interesses tanto de produtores, com a maior variabilidade de suas narrativas, quanto dos consumidores, com suas diversas formas de fruição de conteúdo. Partindo da hipótese de que as ferramentas da web interferem na forma de fruição, o objetivo da pesquisa se volta para a identificação dessas ferramentas e análise crítica de sua utilização na transmissão de conteúdo audiovisual na web. A pesquisa se debruça sobre um produto audiovisual, a série de TV Supernatural, buscando observar quais são as ferramentas envolvidas no processo de convergência midiática entre televisão e internet, mais especificamente, a apropriação feita pelo público do conteúdo audiovisual para sua transmissão na web, originalmente produzido para a TV. O objetivo é compreender criticamente esse deslocamento de conteúdo e qual a importância das características da web para essa dinâmica, buscando responder quais recursos midiáticos estão disponíveis para transmissão de conteúdo audiovisual. Esta observação se faz a partir da análise de três sites distintos, com formas diferentes de disponibilização do conteúdo de série Supernatural, buscando uma gama maior de ferramentas disponíveis próprias da web
The diversity in media and supports which populate the technology market nowadays brings about some worry on the part of the producers of culturally commercial content due, mainly, to the need of catering to a new public who looks more and mor to interact with the narrative, with said producers and with other consumers of such media. The web, with its interactivity tools and collective construction of knowledge, comes across as union focus of of interests from the part of the producers, with a greater varibility of its narratives, and also from the part of the consumers, with its many ways of fruition of such content. Coming from the bypothesis that the web-tools interfere in the ways of fruition, the aim of this research is to turn is focus on the identification of these tools and on the critical analysis of its usage in the transmission of audiovisual content over the web. The research focu on an audiovisual product, the TV series Supernatural, aiming to observe what are the tools involved in the media convergence process between television and the internet, more specifically, the appropriation made by the public of the audiovisual content for its transmission on the web, originally produced for the TV. The goal is to critically understand such content displacement and what is the importance of the web characteristics for this dynamic, trying to answer what media resources are available for the transmission of audiovisual content. This observation is made by the analyses of three distinct websites, with different ways of release of the content of the series Supernatural, trying to achieve e bigger frame of reference on the tools available over the web
APA, Harvard, Vancouver, ISO, and other styles
2

Costa, Sarah Moralejo da. "Supernatural na web : produção e reprodução audiovisual em suporte convergente /." Bauru : [s.n.], 2012. http://hdl.handle.net/11449/89376.

Full text
Abstract:
Orientador: Marcelo Magalhães Bulhões
Banca: Rogério Ferraraz
Banca: Mauro de Souza Ventura
Resumo: A diversidade de suportes e mídias que povoam o mercado tecnológico atualmente desperta preocupações por parte dos produtores de conteúdo cultural comercial devido principalmente à necessidade de atender a um novo público que busca cada vez mais interagir com narrativas, com os produtores e com demais consumidores. A web, com suas ferramentas de interatividade e construção coletiva de conhecimento, se destaca como ponto de união de interesses tanto de produtores, com a maior variabilidade de suas narrativas, quanto dos consumidores, com suas diversas formas de fruição de conteúdo. Partindo da hipótese de que as ferramentas da web interferem na forma de fruição, o objetivo da pesquisa se volta para a identificação dessas ferramentas e análise crítica de sua utilização na transmissão de conteúdo audiovisual na web. A pesquisa se debruça sobre um produto audiovisual, a série de TV Supernatural, buscando observar quais são as ferramentas envolvidas no processo de convergência midiática entre televisão e internet, mais especificamente, a apropriação feita pelo público do conteúdo audiovisual para sua transmissão na web, originalmente produzido para a TV. O objetivo é compreender criticamente esse deslocamento de conteúdo e qual a importância das características da web para essa dinâmica, buscando responder quais recursos midiáticos estão disponíveis para transmissão de conteúdo audiovisual. Esta observação se faz a partir da análise de três sites distintos, com formas diferentes de disponibilização do conteúdo de série Supernatural, buscando uma gama maior de ferramentas disponíveis próprias da web
Abstract: The diversity in media and supports which populate the technology market nowadays brings about some worry on the part of the producers of culturally commercial content due, mainly, to the need of catering to a new public who looks more and mor to interact with the narrative, with said producers and with other consumers of such media. The web, with its interactivity tools and collective construction of knowledge, comes across as union focus of of interests from the part of the producers, with a greater varibility of its narratives, and also from the part of the consumers, with its many ways of fruition of such content. Coming from the bypothesis that the web-tools interfere in the ways of fruition, the aim of this research is to turn is focus on the identification of these tools and on the critical analysis of its usage in the transmission of audiovisual content over the web. The research focu on an audiovisual product, the TV series Supernatural, aiming to observe what are the tools involved in the media convergence process between television and the internet, more specifically, the appropriation made by the public of the audiovisual content for its transmission on the web, originally produced for the TV. The goal is to critically understand such content displacement and what is the importance of the web characteristics for this dynamic, trying to answer what media resources are available for the transmission of audiovisual content. This observation is made by the analyses of three distinct websites, with different ways of release of the content of the series Supernatural, trying to achieve e bigger frame of reference on the tools available over the web
Mestre
APA, Harvard, Vancouver, ISO, and other styles
3

Boggs, April R. "No Chick Flick Moments: 'Supernatural' as a Masculine Narrative." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1237564610.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Herrmann, Andrew F. "Re-Discovering Kolchak: Elevating the Influence of the First Television Supernatural Drama." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/811.

Full text
Abstract:
Each panelist has chosen an artifact (or type, genre, etc.) from the recent past and interrogated its role as an influence on contemporary popular culture, working to show the linkage between then and now. This type of work is underappreciated and we would like to attempt to show how informing ourselves on popular culture past can make us better critics in the present. Our hope is to inspire others to take up that cause as well. In that spirit, we would like to encourage people to come prepared to discuss ideas and share their own work in a workshop type environment.
APA, Harvard, Vancouver, ISO, and other styles
5

Beatrice, Abrahamsson. "”What, so genesis is a lie? Shocker.” : en kvalitativ studie om banal religion i TV-serien Supernatural." Thesis, Uppsala universitet, Religionssociologi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-295500.

Full text
Abstract:
The aim of this thesis is to examine how religious phenomena in the TV show Supernatu-ral, with focus on banal religion, can be viewed as a part of the mediatization of religion in society. Furthermore, to find out if the representation of religion in the show is differ-ent in its later seasons in comparison with its earlier seasons. Through a qualitative analy-sis and with Hjarvards mediatization theory, as well as his concept of banal religion, Su-pernatural and its religious content has been examined. The research questions used in this study order to reach the aim of the study are what differences in the representation of religion can be found in the later seasons, in comparison to the earlier seasons? is there an increase in loosening of the Catechism of the Catholic Church in the later seasons? and can the representation of religion in the later seasons of the series, according to Hjarvard, be regarded as banal religion? In addition to a qualitative method, an abduc-tive research approach has been used as well as certain parts of Andersson and Hedlings (1999) film analysis process.In the comparison of the series later and earlier seasons, this study finds that some differ-ences exist. These differences are among other things shown by the representation and the personification of God, in the series. Further, the study shows that a slightly increased loosening of the Catechism of the Catholic Church can be seen in the later seasons. An example of this is the introduction of an entity that is God’s sister. In conclusion, this study demonstrates a number of examples of how Hjarvards mediatization theory can be applied to the representation of religion in the series. Moreover, the study can, in some ways, confirm that the representation of religion in the later seasons of the series, accord-ing to Hjarvard, can be viewed as banal religion.
APA, Harvard, Vancouver, ISO, and other styles
6

Herrmann, Andrew F. "Discourses of Horror TV: Kolchak, Twin Peaks, and the Supernatural Drama." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/792.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Dahlqvist, Ingeborg. "Competitive Talk and the Three Main Characters in Supernatural." Thesis, Mälardalens högskola, Akademin för utbildning, kultur och kommunikation, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-14387.

Full text
Abstract:
This study focuses on all-male dialogues in the popular television series Supernatural. The purpose is to determine if and to what extent some linguistic features that are said to be characteristic of competitive talk among men occur in these dialogues. Do modern, scripted dialogues correspond to the impression given in the literature? Can the principal male characters‟ spoken interaction in Supernatural be considered competitive and thus stereotypically male?The material for this quantitative and qualitative study consists of the entire third season of the series, which comprises 16 episodes that were originally broadcast in 2007-2008. The quantitative analysis consists in counting the occurrences of the linguistic features investigated in the dialogues between two or all three of the main characters. The qualitative aspect was about identifying and interpreting the linguistic features in relation to the contexts in which they occur.The results show that the dialogues between the three main characters in Supernatural do contain some features said to be characteristic of competitive speech among men. While there are no occurrences of verbal sparring, the other phenomena investigated (questions, impersonal topics, monologues and playing the expert) are common. However, the results also show interesting aspects of these features that do not correspond with competitive speech style.
APA, Harvard, Vancouver, ISO, and other styles
8

Herbig, Art, and Andrew F. Herrmann. "Polymediated Narrative: The Case of the Supernatural Episode "Fan Fiction"." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/757.

Full text
Abstract:
Modern stories are the product of a recursive process influenced by elements of genre, outside content, medium, and more. These stories exist in a multitude of forms and are transmitted across multiple media. This article examines how those stories function as pieces of a broader narrative, as well as how that narrative acts as a world for the creation of stories. Through an examination of the polymediated nature of modern narratives, we explore the complicated nature of modern storytelling.
APA, Harvard, Vancouver, ISO, and other styles
9

Johansson, Emelie. "Up against Good, Evil, Destiny, and God himself." Thesis, Högskolan Dalarna, Bildproduktion, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-27069.

Full text
Abstract:
Syftet med denna uppsats är att undersöka hur religiösa teman manifesterar sig i TV-serien Supernatural (2005 ff.), och i vad mån dessa teman motsvarar en "banal religion". Fyra scener ur serien har analyserats med avseende på dess tematik och estetik för att fastställa hur Supernatural har anpassat berättelsen om Kain och Abel samt skapelseberättelsen till en modern miljö med övernaturliga inslag. Studien påvisar att serien använder sig av religiösa berättelser för att skapa narrativ som inte behöver beaktas som religiöst av åskådaren. Supernatural har hämtat fragment från bibliska berättelser och anpassat tematiken till seriens handling och genre men en viss symbolik finns fortfarande kvar och på sätt kan dess tematik och estetik kopplas till en banal religion.
APA, Harvard, Vancouver, ISO, and other styles
10

Hauser, Brian Russell. "Haunted Detectives: The Mysteries of American Trauma." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1227020699.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Supernatural on television"

1

Knight, Nicholas. Supernatural: The official companion. London: Titan, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Knight, Nicholas. Supernatural: The official companion, season 6. London: Titan Books, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Eric, Kripke, ed. Supernatural: The official companion, season 7. London: Titan Books, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Eric, Kripke, ed. Supernatural: The official companion, season 5. London: Titan Books, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Alexander, Irvine. The Supernatural book of monsters, spirits, demons and ghouls. London: Titan, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Irvine, Alexander C. The Supernatural Book of Monsters, Spirits, Demons and Ghouls. New York: HarperCollins, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Pilato, Herbie J. Bewitched forever: The immortal companion to television's most magical supernatural situation comedy. 2nd ed. Irving, Tex: Summit Pub. Group, 2001.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Pilato, Herbie J. Bewitched forever: The immortal companion to television's most magical supernatural situation comedy. Arlington, Tex: Summit Pub. Group, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Green, Paul. Encyclopedia of weird westerns: Supernatural and science fiction elements in novels, pulps, comics, films, television, and games. Jefferson, N.C: McFarland & Co., Publishers, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Green, Paul. Encyclopedia of weird westerns: Supernatural and science fiction elements in novels, pulps, comics, films, television and games. Jefferson, N.C: McFarland & Co., Publishers, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Supernatural on television"

1

Morimoto, Lori. "From Imagined Communities to Contact Zones." In Transatlantic Television Drama, 273–90. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190663124.003.0017.

Full text
Abstract:
This chapter critiques fan studies’ work that has treated fandom as made up of cohesive “imagined communities.” Instead, it explores a “contact zones” model of transatlantic media fandoms. Examining fan accounts of “American monoculture,” it considers how practices of “Britpicking” in fan fiction communities assert the need for allegedly “authentic” fans to engage with the presumed cultural specificity of shows such as Sherlock (despite this being a UK-US coproduction). Britpicking thus occurs alongside “Brit-fixing,” where transnational TV drama is problematically recontextualized by fans as nationally “authentic.” Furthermore, “Ameri-picking” happens around US shows such as Supernatural when fanfic is written by non-Americans, while US fans also seek to distance themselves from imputed American monoculture, demonstrating that this is akin to “mainstream” versus “subcultural” distinctions. Finally, the chapter complicates assumptions of transatlantic fandom as a US-UK system of meaning by exploring the cultural positionings of Canadian fans of the UK soap opera Coronation Street.
APA, Harvard, Vancouver, ISO, and other styles
2

Booth, Paul. "Crossing over the Atlantic." In Transatlantic Television Drama, 291–304. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190663124.003.0018.

Full text
Abstract:
This chapter explores a fan-created digital mashup, SuperWhoLock, which combines elements from the US TV series Supernatural and UK shows Doctor Who and Sherlock (the latter two being linked, at the time, by a shared showrunner, Steven Moffat). It explores SuperWhoLock’s distinctive “transfandom” as a resolutely transcultural practice especially linked to sites such as Twitter and Tumblr. This fan-created crossover “show” conveys a fantastical Anglophilia for some transcultural fans, as well as multiple differences being posited between the “official” US/UK TV texts by fans, with some of these distinctions focusing on “heritage” rather than national meanings. The chapter concludes by looking at sentiment analysis via social media, using the Crimson Hexagon analytics engine, as well as considering one specific connecting word, “vanished.” Although SuperWhoLock’s time may now have passed, it remains indicative of digital fandom’s transcultural creativity, its relationship to remix culture, and its crossing of textual and national borders.
APA, Harvard, Vancouver, ISO, and other styles
3

Abbott, Stacey. "A Very Slow Apocalypse: Zombie TV." In Undead Apocalypse. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748694907.003.0005.

Full text
Abstract:
This chapter examines the role of the zombie within TV horror both in terms of a long established tradition of monster-of-the-week through to the increasingly prevalent place that the zombie plays within contemporary serialised television. This chapter challenges the dismissal of television as an appropriate space for horror and the political allegory often associated with Romero’s zombie films, by presenting a series of case studies in which the TV zombie serves such as narrative and thematic purpose. In particular it considers how the serialized nature of television, exemplified by the soap opera format, is well suited to the zombie narrative in which closure is traditionally denied. It also serves to structure the nature and function of allegory within the televisual zombie format. Case studies include: Buffy the Vampire Slayer, Supernatural, The Walking Dead and In the Flesh.
APA, Harvard, Vancouver, ISO, and other styles
4

Sayad, Cecilia. "Seeking ghosts." In The Ghost in the Image, 19–40. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190065768.003.0002.

Full text
Abstract:
This chapter examines the use of audiovisual and other indexical technology to capture evidence of supernatural phenomena in ghost-hunting reality television shows like Most Haunted, Ghost Hunters, and Paranormal State, among many others. It explores these programs’ connections with early practices such as spirit photography and phantasmagoria. The chapter also examines the ways in which the shows invite interaction with viewers through web forum discussions and live broadcasts. At the basis of this investigation is the question of how photography and film are seen to reveal hidden aspects of the material world and our expectations about the evidential power of images.
APA, Harvard, Vancouver, ISO, and other styles
5

Hallam, Lindsay. "Cherry Pie Wrapped in Barbed Wire: Fire Walk With Me as a Horror Movie." In Twin Peaks: Fire Walk with Me, 27–74. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781911325642.003.0003.

Full text
Abstract:
This chapter discusses Twin Peaks and its engagement with and subversion of genre conventions. It discloses how the Twin Peaks television series is viewed as a work of postmodernism and a pastiche of several genres that provide references to film noir, which gives the series a cinematic feel. It also points out that the Twin Peaks series parodied television genre conventions, while David Lynch's Twin Peaks: Fire Walk With Me is less interested in parody and pastiche and presents a more personal and subjective story. The chapter examines how Fire Walk With Me reveals more of the strange and unearthly realm that exists side-by-side with the town where larger forces of good and evil fight to gain control of Laura's soul. It describes the strong sense of the supernatural in Fire Walk With Me; an element that situates the film in the horror genre through the creation of mythical and mystical spaces.
APA, Harvard, Vancouver, ISO, and other styles
6

Viskontas, Indre. "The Challenges of Changing Minds: How Confirmation Bias and Pattern Recognition Affect Our Search for Meaning." In Pseudoscience. The MIT Press, 2018. http://dx.doi.org/10.7551/mitpress/9780262037426.003.0021.

Full text
Abstract:
While hosting a television show on the Oprah Winfrey Network, I had the opportunity to investigate 12 claims of miracles, experienced by a wide swath of Americans. This chapter is a summary of some of the takeaway lessons that I learned during that time, as I observed how extraordinary events can be interpreted as evidence for the existence of the supernatural. In particular, our drive to find meaning combined with a faulty memory system, a bias towards confirming our beliefs and our uncanny ability to pick out patterns make it difficult for us to change our minds even in the face of new and contradictory evidence.
APA, Harvard, Vancouver, ISO, and other styles
7

"“The Devil Made Me Do It!”: Representing Evil and Disarticulating Mind/Body in the Supernatural Serial Killer Film." In The Changing Face of Evil in Film and Television, 71–87. Brill | Rodopi, 2007. http://dx.doi.org/10.1163/9789401205276_006.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Hayes, Marisa C. "A Curse is Born – Context and Background." In Ju-On: The Grudge, 11–20. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325291.003.0002.

Full text
Abstract:
This chapter discusses the context and background of Ju-on: The Grudge (2002), starting with a synopsis of the film. Takashi Shimizu's Ju-on franchise was a principal instigator that drove the dissemination of contemporary Japanese horror to global success during the early years of the new millennium. Capitalising on the supernatural folklore that permeates Japan's theatrical and screen legacies, this wave of horror represented a new cinematic export that seamlessly merged the Japanese vengeful ghost tradition with the influence of transnational horror. J-horror brought culturally specific references that were sometimes lost on international audiences, but they also delighted with fresh motifs, aesthetics, and storylines. The chapter then looks at the journey of the Ju-on franchise from television to V-cinema, or direct to video films, to the big screen.
APA, Harvard, Vancouver, ISO, and other styles
9

Dixon, Wheeler Winston. "A Working Director." In The Films of Terence Fisher, 147–80. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325345.003.0004.

Full text
Abstract:
This chapter talks about the completion of Four Sided Triangle, which was received as just another science-fiction programmer at the time, and marked no immediate advance in Terence Fisher's status as a director. It discusses the importance of rehearsal to Fisher, sp much that even in his lowest budgeted films, he always insisted on some time to work with the actors on the floor. It also describes how Fisher rehearsed the actors just before the cameras rolled and shot the scene immediately when he was happy with the results. The chapter recounts Fisher's method of working on a film in 1973, from the first day of shooting onward. It looks at Fisher's work in television, such as his directorial work on an episode of Colonel March of Scotland Yard in 1956, a half-hour detective series with occasional supernatural overtones.
APA, Harvard, Vancouver, ISO, and other styles
10

Grimm, Joshua. "Introduction." In It Follows, 7–10. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781911325581.003.0001.

Full text
Abstract:
This chapter begins with a description of film director David Robert Mitchell's recurring nightmare when he was 10 years old of being slowly followed by something that could adopt multiple identities. It talks about how It Follows became a breakout hit when it premiered at Cannes and went on to become a critical success. It also mentions It Follows's financial success and how the film joined a horror movie renaissance of smart, frightening films that have rejuvenated the genre, such as Scream (1996) and The Blair Witch Project (1999). The chapter recounts how horror movies became stagnant by the success of Japanese remakes and torture flicks in the early noughties, followed by an unrelenting march of the supernatural both in film and television. It reviews the speculated interpretation of It Follows, asa metaphor for sexually transmitted diseases or a cautionary tale about teenage intercourse.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Supernatural on television' for particular source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography