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Alison Phipps

. Polliver. The Mountain. Rorge. Walder Frey. Tywin Lannister. Beric Dondarrion. 120 PHIPPS 9781526147172 PRINT.indd 120 14/01/2020 13:18 White feminism as war machine This is Arya Stark’s ‘kill list’ from the TV phenomenon Game of Thrones. Early in the series, the young Arya began reciting the names of those who had wronged her. And many of them ended up dead, at the point of Arya’s sword or those of others (in one particularly gruesome scene she kills Walder Frey’s sons and bakes them into a pie, which she serves to him before cutting his throat). Arya is a

in Me, not you
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Jack Holland

regulative ideal, is a weak excuse for its downplaying or exclusion. 3 In the current era, it is plainly ludicrous to deny the centrality of the screen, located as it is at the heart of American political life, for presidents and the people. Today, television is powerful in many senses, even – and especially – when the subject matter is fictional. Consider the affecting experience of watching key moments in your favourite show: in Game of Thrones , the fate of Ned Stark’s neck, perhaps, or Prince Oberyn’s face. Fictional television is remarkable for its narrative

in Fictional television and American Politics
Ruth Barton

Production background One production has dominated the Northern audiovisual sector since 2009 when shooting began and that is Game of Thrones (HBO, 2011–). Filmed on locations including the Giant’s Causeway, the eighteenth-century cobbled-stone alleyways of central Belfast, and at the Paint Hall Studios (part of the Titanic Studios in the Titanic Quarter), by the end of Series Seven the production had been credited with bringing a total expenditure of £166m on goods and services into the Northern Ireland economy (Northern Ireland

in Irish cinema in the twenty-first century
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James Chapman

genre has proved so durable for so many years. It has outlived other once-popular action-based genres: the Western, for example, more or less disappeared as a staple television genre in the 1970s. Even the emergence of fantasy sword-and-sorcery adventure series – Hercules, Xena, Merlin, Game of Thrones – has not displaced the costume swashbuckler in the landscape of popular television drama. This is no small achievement for a genre often regarded as being essentially conservative – both culturally and aesthetically – and whose social politics are Conclusion   257

in Swashbucklers
Jack Holland

, metaphors and analogy can often play a deeper role. 22 They can be powerful rhetorical tools, which are hard to resist. Consider, for example, the allure of the phrase ‘winter is coming’, popularised by Game of Thrones and repeated by political elites and the public alike. Beautiful, predictable, and true, the mantra is almost irresistibly ominous. Coupled to rhetoric, oratorical performance adds significant force to rhetoric’s appeal. Oratory involves consideration of the delivery of speech and language, including volume, tone, or intonation. The medium of

in Fictional television and American Politics
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World politics and popular culture
Jack Holland

normative parameters of political life, shaping what can, could, must, and might happen in our lives and in our world. This is just as true for us – as ordinary citizens who enjoy watching television – as it is for our political leaders. Reflect for a moment on how many hours you have spent watching C-SPAN or the BBC Parliament channel. How many hours have you invested in Game of Thrones or House of Cards or your favourite television show? The exploration and interrogation of popular culture and fictional television are imperative for political and social science. And

in Fictional television and American Politics
Open Access (free)
Postfeminist genealogies in millennial culture
Stéphanie Genz

and power dynamics that have become glaringly obvious in the harsh post-Noughties climate. Here, visibility emerges as a discernible post-boom postfeminist motif that can be witnessed both in popular culture – where it takes the form of sexual sensationalism and liberal sexism that is unapologetic and blunt in its portrayal of gendered abuse, witnessed for example in HBO’s Game of Thrones (2011–) 54 – as well as in relation to contemporary sexualized forms of feminism and activism, exemplified for instance by

in Post-everything
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International law at the movies
Gerry Simpson

allusions and references to everything from Alice in Wonderland to Game of Thrones ). Much of this is new but it is not as if this preoccupation with the visual has emerged from nowhere. The ground was cleared some time ago by both those who worked on the aesthetics of law more broadly (Douzinas, Manderson, Goodrich) and those who took an early interest in the documentary or visual aspects of international law (often international criminal justice) from Nuremberg through to Lubanga (Lawrence Douglas’ book The Memory of Justice is a notable antecedent in this

in Cinematic perspectives on international law
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James Chapman

feature of the production discourses of many television swashbucklers has been their assertion of period authenticity: this began with The Adventures of Robin Hood and persisted until Hornblower in the late 1990s.) I am excluding sword-and-sorcery sagas with a magical element, such as Hercules: The Legendary Journeys, Xena: Warrior Princess, Merlin and Game of Thrones. However, I am including Robin of Sherwood, where the magical theme is consistent with the popular belief in magic during the Middle Ages. To keep the length manageable, I have also focused on the

in Swashbucklers
Martin Barker, Clarissa Smith, and Feona Attwood

Game of Thrones offered its audiences an exceptionally rich range of characters – and, for the TV series, of actors playing them. Not simply for the mix of ages, ethnicities and sexual orientations, or of personal attributes (brave or cowardly, smart or dim, ambitious or loyal), but also for the way that the characters simply do not fall into easy archetypes or embodiments of moral attributes. GoT has often been compared with Tolkien's The Lord of the Rings , but there are such important differences between the

in Watching Game of Thrones