Game of Thrones was an international sensation, and has been looked at from many different angles. But to date there has been little research into its audiences: who they were, how they engaged with and responded to it. This book presents the findings of a major international research project that garnered more than 10,000 responses to an innovative 'qualiquantitative' questionnaire. Among its findings are: a new way of understanding the place and role of favourite characters in audiences responses; new insights into the role of fantasy in encouraging thinking about our own world; and an account of two combined emotions relish and anguish which structure audiences reactions to controversial elements in the series.
How did audiences across the world engage with the blockbuster TV series Game of Thrones? This book presents the findings of a major research project that gathered the responses of more than 10,000 people. Its findings challenge many conventional approaches and open up new ways of thinking about the value of contemporary fantasy.
Recenzijos
'Watching Game of Thrones offers a valuable contribution to large-scale audience research projects and to Game of Thrones scholarship.' Critical Studies on Television -- .
1 The remarkable phenomenon that is Game of Thrones
2 Generating a richly structured combination of data and discourses
3 Distinguishing different kinds of audience
4 Favourite characters, favourite survivors
5 The significance of favourite character choices
6 Winter is coming
7 Conflicts and controversies
8 Making predictions for an unpredictable world
Postscript: If you think this has a happy ending, you havent been paying
attention
Index -- .
Martin Barker was Emeritus Professor in the Department of Theatre, Film and Television Studies at Aberystwyth University and Visiting Professor at UWE Bristol Clarissa Smith is Professor in the Department of Arts at Northumbria University Feona Attwood edits three scholarly journals: Journal of Gender Studies, Sexualities, and Porn Studies -- .
