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Jack Holland

Chaos is a ladder. Lord Petyr Baelish (Littlefinger) Introduction In mid-April 2016, HBO was hyping the new sixth season of Game of Thrones , due to start in one week. Such was the success of the show that commentators were noting how all others trailed far behind HBO’s standard-bearer. 1 Posters and trailers, alongside programmes recapping the ten most shocking moments to date, helped to ignite the passions of avid viewers eagerly awaiting the show’s return and, potentially, several of its key cast members. Viewers were teased and enticed to

in Fictional television and American Politics
From 9/11 to Donald Trump
Author: Jack Holland

American television was about to be revolutionised by the advent of video on demand in 2007, when Netflix, having delivered over one billion DVDs, introduced streaming. This book explores the role that fictional television has played in the world politics of the US in the twenty-first century. It focuses on the second golden age of television, which has coincided with the presidencies of George W. Bush, Barack Obama, and Donald J. Trump. The book is structured in three parts. Part I considers what is at stake in rethinking the act of watching television as a political and academic enterprise. Part II considers fictional television shows dealing explicitly with the subject matter of formal politics. It explores discourses of realpolitik in House of Cards and Game of Thrones, arguing that the shows reinforce dominant assumptions that power and strategy inevitably trump ethical considerations. It also analyses constructions of counterterrorism in Homeland, The West Wing, and 24, exploring the ways in which dominant narratives have been contested and reinforced since the onset of the War on Terror. Part III considers television shows dealing only implicitly with political themes, exploring three shows that make profound interventions into the political underpinnings of American life: The Wire, The Walking Dead and Breaking Bad. Finally, the book explores the legacies of The Sopranos and Mad Men, as well as the theme of resistance in The Handmaid's Tale.

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
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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
Bryan Fanning

feature of debates about the future of the Irish language after independence was that these, by necessity, took place in English. The free Irish people mostly chose to read novels and newspapers in English. Writers as different as Canon Sheehan, Frank O’Connor, James Joyce, John McGahern and Maeve Binchy all wrote about what it was to be Irish in English. People went to the cinema where English became, once the talkies arrived, the language of romance and adventure. Their greatgrandchildren most probably know more about Lord of the Rings or Game of Thrones than the Táin

in Irish adventures in nation-building