Notes

1 Notes to García and González

1. This chapter is included in the research project ‘Acción, emoción e identidad’ (Ref. FFI2012-38737-C03-01) funded by the Spanish Ministry of Economía and Competitividad.

2 Notes to Nelson

1. 25–6 October, 2013. 2. See, for example, the work of Henry Jenkins and Matt Hills. 3. For an overview of developments, see Nannicelli and Taberham. 4. For a neuroscience perspective on empirical/experiential approaches, see Kircher and Leube: ‘Questions on cognitive and neural correlates of notions such as self-awareness, self-consciousness, introspective perspective or sub- jective experiences have re-emerged as topics of great interest in the scientific community. This is in part due to the lack of neuroscience grasping some- thing like a first person perspective with its methodology and an increasing unease with this situation among researchers’ (656). 5. See Nelson, State of Play, where I document the shifts to global marketing in digital circumstances which facilitated the production and worldwide dis- tribution of ‘high-end’ TV fictions. In short summary, such programming emerged in a forcefield of circumstances: digital technologies and satellite distribution; improved quality of sound and image through digital high reso- lution; finance generating an ambition to attract creative talent (some with film experience) mobilising a fundamental shift of value in the economics of TV3 ‘from conduit to content’. 6. For an informative overview of the lineage of the term and current thinking on ‘affect’, see Gregg and Seigworth. 7. For a full discussion of the variety and complexities of participatory engage- ments, see Gareth White. 8. Ellis established the concept of ‘the glance’ in television view in distinction from ‘the gaze’ in cinema established by Mulvey. 9. For an account of Poliakoff’s career and TV fictions, see Nelson, Stephen Poliakoff. 10. A slogan for modernism attributed to Pound and subsequently used in 1935 as a title of a selection of his poems. 11. I choose also to avoid the much-discussed sequence which affords another powerful ‘moment of affect’ from narrative fragments tangential to the Truman–Anderson conflict. In that celebrated sequence, photographic stills in black and white show a young Jewish girl separated from her parents,

223 224 Notes

clandestinely brought up by neighbours and ultimately surviving their deaths in the concentration camps. 12. Writing of saturated frames, Butler notes that the average shot length (ASL) in Mad Men, though slow is actually shorter in duration than 1960s cinema where ‘[f]actors such as composition in depth, deep focus, widescreen fram- ing among others, can mitigate against faster cutting speeds ... because they need more time to comprehend’ (68). 13. Mad Men cinematographer, Phil Abraham, has spoken of its ‘somewhat man- nered, classic visual style that is influenced more by cinema than TV’ (qtd in Edgerton, Mad Men: Dream 64). 14. I am grateful to Alberto N. García for pointing out that the final shot of ‘The Strategy’ (7.6) bears out the thesis of ‘moments of affect’ over the protracted time-span of a long-form serial. The scene is ostensibly very simple: Don, Peggy and Pete sit at a dinner table. But the resonances of that image are tremendous, and the whole bodymind memory of the ‘experiencer’ must be fully at work. 15. For a fuller discussion, see Bay-Cheng, Kattenbelt, Lavender and Nelson.

3 Notes to García

1. Perhaps the most successful exception can be found in the character of Andy Sipowicz in NYPD Blue (ABC, 1993–2005). 2. The persistence of this antihero trend is provoking ‘narrative fatigue’. In fact, some fancy productions, such as Ray Donovan, The Knick (Cinemax, 2014–) or the AMC’s police drama, Low Winter Sun (2013), did not receive cri- tical praise because the figure of the antihero has become formulaic or clichéd. 3. Nurse Jackie (Showtime, 2009–15) or Rescue Me offer variations thereon, in both cases linked to addictions.

4 Notes to Pérez

1. Carroll is one of the main academics to have posited a series of arguments that are sceptical of the concept of empathy; Carroll also contends that the con- cept of sympathy is the best way of understanding the relationship between spectators and fictional characters: ‘Sympathy is the primary glue that binds us emotively to the protagonists and their fates in popular fictions’ (‘On Some Affective’ 175). 2. At the time of writing this chapter, a third season has yet to be produced. The series has also been syndicated in 13 countries, with a particularly successful reception in Argentina; it has also been the object of remakes in Italy and in the United States, where Spielberg has produced a ver- sion for Fox that premiered on 17 September 2014 titled The Red Band Society. 3. The intensity of the depiction of the group may possibly be one of the factors influencing the success with viewers (predominantly teen viewers) enjoyed by this series, which was initially produced for Catalonia by TV3, and then Notes 225

exported to the rest of Spain, where it has had viewing audiences of more than two million. 4. The relevance of Plantinga’s concept here is posited not only on the basis of the dominant scenes depicting the faces of the characters, but also on the content, with its evocation of sacrifice, and Lleo’s impending death: ‘To con- textualize empathy, films often attempt to elicit an empathetic response only after a protagonist has undergone some kind of trial or sacrifice, has neared the end of his or her life, or in some cases, has actually died’ (‘The Scene of’ 253). 5. We refer here to the term proposed by Smith in association with his concept of alignment: ‘To become allied with a character, the spectator must evaluate the character as representing a morally desirable (or at least preferable) set of traits, in relation to other characters within the fiction. On the basis of this evaluation, the spectator adopts an attitude of sympathy (or, in the case of a negative evaluation, antipathy) towards the character, and responds emo- tionally in an opposite way to situations in which this character is placed’ (‘Engaing Characters’ 188).

5 Notes to Weissmann

1. For example, what I will discuss in relation to Mad Men also largely holds true for Homeland (Showtime, 2011–) and The Wire (HBO, 2002–08).

6 Notes to Flamarique

1. As Balzac argues, ‘FASHION is no longer determined by a person’s wealth. The material of life, once the object of general progress, has undergone tremen- dous developments. There is not a single one of our needs that has not produced an encyclopaedia, and our animal life is tied to the universality of human knowledge. In dictating the laws of elegance, fashion encompasses all the arts (...)Bywelcoming,byindicating progress, it takes the lead in everything: it brings about revolutions in music, literature, drawing, and architecture. A treatise on elegant living, being the combination of inalienable principles that must guide the expression of our thought through exterior life, is, as it were, the metaphysics of things’ (26). 2. American literature has repeatedly described family and social life in these cities – for example, American Pastoral by Philip Roth, Revolutionary Road by Richard Yates, The Man in the Gray Flannel Suit by Sloam Wilson and The Lay of the Land by Richard Ford. 3. ‘Mad Men’s story arcs reveal that the era touted as one of nuclear family togeth- erness was often one of family separation with wives ensconced in suburbs and men in cities, often staying there over night and on holidays’ (Gillan 104). 4. ‘The power of the narrative of Mad Men is that it has been able to collect and represent part of our logic of masculine identification and show it to us in its entirety, without exaggerating’ (García García 385). 226 Notes

7 Notes to Baena

1. I would like to acknowledge the Spanish Government’s financial support of the research project: ‘Acción, emociones, identidad. Elementos para una teoría de las sociedades tardo-modernas’ (Ref. FFI2012-38737-C03-01). 2. The popularity of these programmes has been a matter of concern among critics. As a recent audience research study shows, heritage productions have led to a higher audience and are attracting a younger demographic than the producers expected: ‘In the post-2000 era of globalization and media conver- gence, new forms of transnational Anglophilia are becoming evident online among young global audiences which encompass both period and contem- porary (culturally) British film/drama genres and their stars. This includes a young, transnational following for ITV’s/PBS Masterpiece Theatre’s Downton Abbey’ (Monk, Heritage-Film 45). 3. Important social, technological and economic changes occurred during the Edwardian years. In general, it was a time of prosperity and wealth, as Great Britain still held a privileged political position in the world. The wonders of the modern world, which appeared in the 1880s and 1890s, brought the first rewards of modern industrialization and mass-produced abundance. Britain was at its imperial height at this time and one in three of the world’s population were her subjects. The Edwardian period also witnessed crucial changes in the British class system and British heritage, rescued by American capital. 4. We cannot classify these series under just one generic definition. While they participate in many forms of heritage production, their generic labels vary among a wide range of terms, such as period or costume drama, lit- erary adaptions, soap opera, or classic dramas in general. The different labels may also respond to a tendency to syncretism in contemporary TV drama that crosses generic boundaries in order to attract younger audiences (Vidal 33). 5. Performance is a meaningful term on two levels: it acknowledges both the acts of invention and construction that have been implicit in the very notion of national identity since the classic works of Eric Hobsbawm and Benedict Anderson, as well as the literal meaning of the act of performance by actors on the contemporary British TV stage (Cardwell 88–9). 6. Etymologically, nostalgia refers to ‘homesickness’; with its Greek roots – nos- tos, meaning ‘to return home’ and algos, meaning ‘pain’. It was coined in 1688 by Johannes Hoger, a 19-year-old Swiss student, in his medical disserta- tion, to refer to a lethal kind of homesickness (referring to Swiss mercenaries far from their mountainous home) (F. Davis 1–4). However, in our contem- porary usage, nostalgia appears to have been fully ‘demedicalized’; it is also undergoing a process of ‘depsychologization’ (4–5). 7. There are a few instances when nostalgia has been studied in current schol- arly work on emotions. In the Handbook of Emotions, 3rd edition, 2008, ‘nostalgia’ is mentioned only once: Stearns notes that more and more studies are being conducted on different human emotions, such as nostalgia (21), but nothing else is added. Richards briefly mentions nostalgia as one among other emotions that we are likely to feel on a daily basis, such as ‘irritation, boredom, impatience, mild amusement, transient frustration, resignation, Notes 227

apprehension, nostalgia, chagrin, contentment, affection, slight feelings of envy and vague dissatisfaction’ (G. Richards 51). 8. As Elster has pointed out, not all emotions have positive or negative valence. Some emotional experiences may be neutral, in the sense that we are indifferent about experiencing or not experiencing them. The most obvi- ous examples are provided by composite emotional experiences, such as bittersweet nostalgia (281). 9. See also Anderson, who argues that nationalism today commands ‘profound emotional legitimacy’ (4). 10. Obviously, the evocation of a nostalgic mood in the audience is dependent upon the individual viewer, his or her knowledge of the genre and the vital cultural context of viewing. However, we can see how using mood cues in style that work together with the narrative may elicit a non-specific mood that is appreciative and open to the pleasures of viewing and that is often wistful (Cardwell 149). 11. First published as Lark Rise in 1939, Over to Candleford in 1941 and Candleford Green in 1943, they were published in a single volume in 1945.

8 Notes to Agger

1. Summing up the observations: first, in spite of the dominant social orienta- tion, a diversification of subgenres has appeared. Second, crime fiction tends to merge into a more established part of the public cultural sphere. Third, a certain blurring of the borders between facts and fiction has emerged. Fourth, Scandinavian crime fiction novels and TV series constitute a popular brand, and a growing production industry is linked to them, including international adaptations and remakes. Last, other spheres, for example, tourism, are sub- sumed under the coalition of crime and media. Mediated tourism is analysed by Waade (2013). 2. Tornerose (2008) was the second film in a series of twelve featuring Varg Veum (2007–12). In contrast to the novel, the film version does not elabo- rate the visual image of Copenhagen, quickly changing the focus to the main location – Bergen. 3. There is a feeling of recognition inherent in the setting. Danish audiences will recognise the provincial setting from popular crime series from the 1970s (En by i provinsen [A Provincial Town] 1977–80) and the 1990s (Strisser på Samsø [Island Cop], 1997–98]), as well as the title sequence of Unit One (2000–04). British audiences will probably be reminded of the series Wycliffe (ITV, 1993–98), set in Cornwall, or Broadchurch (Kudos/ITV, 2013–), set in Dorset. The sea can be considered as a transnational element in these productions. 4. Cf. my analyses in ‘Nordic Noir on Television’ and The Killing: Urban Topographies of a Crime. 5. A peninsula called Skogsö near Stockholm does exist. 6. There is a direct link between Wallander and Bron|Broen. Hans Rosenfeldt, the main scriptwriter, has formerly participated in the writing of Wallander episodes. 7. Cf. Gemzøe (2016). 228 Notes

8. Stephen Moss claims that Hinterland ‘aims to do for this bit of Wales what Wallander did for southern Sweden and The Killing did for Copenhagen’.

9 Notes to Abbott

1. This is but one way that TV horror reshapes the horror narrative. As Jowett and I argue, there are a multitude of structural forms available in TV horror, including television movies, anthology series, monster of the week series and serial drama. The serial drama is one of the most prevalent within the current television landscape and is therefore the focus of this essay. 2. See my article ‘Rabbits’ Feet and Spleen Juice: The Comic Strategies of TV Horror’ for a discussion of the integration of horror and comedy in the television series, Supernatural. 3. This forms the premise of the American TV series Resurrection (ABC, 2014–) which began the broadcast of its first season on US television in March 2014. While the premise is very similar to the French series, Resurrection is not a remake of Les revenants which is also due to be remade for US TV (Sundance Channel). 4. I believe that this moment may serve as an example of the ‘moment of affect’ described by Robin Nelson in this volume. 5. It is important to note that while Kieran’s family are increasingly at ease with his condition in season one, season two shows that the process of acceptance is lengthy as they continue to be unsettled by Kieran’s physicality, preferring him to maintain the façade of life. 6. Stefan, Damon and Elena are each shown to have flipped their humanity switch at certain points in the narrative, but this only serves to position the notion of ‘emotion’ more centrally within the series’ story, as they are each forced to eventually flip the switch back and cope with the waves of posi- tive and negative emotions that come flooding back – most notably Elena’s overwhelming grief at the loss of her brother.

10 Notes to Bishop

1. The AMC series is based on the ongoing comic book series of the same name written by Robert Kirkman and illustrated by Tony Moore (#1–6) and Charlie Adlard (#7–). 2. Carol’s subservience is further confirmed during a flashback at the opening of ‘Chupacabra’, in which Ed yells at her for ignoring ‘operational security’ and having the audacity to offer some of their food to a hungry Carl. Faced with her husband’s wrath, Carol immediately apologises and then lies to Lori about her having extra food stores. 3. As I will discuss later, Rick’s execution of Sophia on Carol’s behalf is recalled in the episode ‘The Grove’ (4.14) when Carol demonstrates she now has the emotional strength to ‘put down’ another young girl who has similarly transformed into a dangerous monster. 4. Daryl and Merle do not appear in any capacity in Kirkman’s comic series, but they – especially Daryl – have become two of the television show’s most Notes 229

popular and interesting characters. Their unique presence in the series thus warrants close attention.

11 Notes to Echart and Castrillo

1. This study covers the first three seasons of Homeland. Season four started airing during the fall of 2014, at the time this chapter was being written. 2. Despite its disruptive nature, the opening credits display a great deal of seman- tic wealth. Besides presenting the islamist enemy and the need for defending oneself from it (also with references to an omnipresent surveillance intended to combat the threat of terror, and the image of a little girl on the foreground), the shot of Carrie and Brody standing in the middle of a labyrinth reinforces one of the main conventions of the thriller genre that is central to its conflict and to the core of this study on fear and distrust: the cat-and-mouse game; the interchangeable roles of the hunter and the hunted; the not-knowing who is who in a game of deception and manipulation. 3. Hence Rubin’s view of the thriller as partially sadomasochistic: ‘We find plea- sure in intense sensations – discomfort, anxiety, fear, tension – that might ordinarily be considered unpleasurable, as well as in the ultimate release from such pleasurably unpleasurable sensations’ (31). Ultimately, the genre aspires to wring the audience with ‘agonizing sensations that will transform my ordinary world and charge it with the spirit of adventure’ (264). Plantinga adds that, when it comes to ‘negative emotions’, the pleasurable experience for the spectator derives from a ‘cognitive reframing of the narrative sce- nario’ in the aftermath of the contact with pain, anguish, etc. (Moving Viewers 178–9). 4. Even though the ‘great hit’ planned by Brody does not take place, his accom- plice Tom Walker spreads terror in two occasions (‘Representative Brody’, 1.10, and ‘Marine One’). 5. The narrative, however, is affected by a major turning point halfway through season two (‘Q&A’, 2.5), as Brody switches sides and becomes a double agent for the CIA. As a consequence, season three does not have as its dramatic objective an intramural defence of the country, but the plan to bring about a shift in international geopolitics by causing a change of regime in Iran, in order to make the world a ‘safer place’. 6. Besides Brody, other minor characters convey this fear equally. For example, Tom Walker and Ailleen, both members of Al-Qaeda. 7. This blind faith in technology, as it were, fits remarkably well with the nature of a genre – the thriller – conceived as a ‘need-to-know narrative’ (Russin and Downs 213–17): the audience’s fear is only placated when the protagonist gains enough knowledge to uncover the truth – usually a death threat – and the antagonist’s hidden agenda. 8. As an example of the reoccurring dead-end situations Brody’s lies create, we see that in season two, if Brody were to betray the CIA, his family would learn about his terrorist involvement and they would surely abandon him. On the other hand, if his wife Jess were to learn that Carrie is leading his undercover operation, the effect would be the exact same one: Brody would lose his family. 230 Notes

9. The two romantic relationships Dana establishes in the series reinforce this theme. Her romance with Finn, the son of Vice President Walden, ends abruptly when she is pressured to not tell the truth nor express her intense guilt about a traffic accident in which they were both involved, and which has been silenced for political reasons. Later on, Dana starts a new relation- ship with one of the teenagers at her medical institution, but she breaks up with him upon learning that he lied to her regarding a sensitive matter relat- ing to his family’s past. After her experience with Brody, Dana has learned that no authentic relationship can be built on grounds contaminated by the distrust imposed by lies.

12 Notes to Wassmann

1. This research was supported by a Marie Curie Intra European Fellowship within the 7th European Community Framework Programme. PIEF-GA-2012- SOC-327538-SCECI. 2. AP reported the prisoner abuse in Abu Ghraib in November 2003. 60 Minutes II made the images public in April 2004, and Frontline ‘The Torture Question’ aired in October 2005. 3. http://www.nbcuniversalstore.com/battlestar-galactica-six-poster/detail.php? p=363526. 4. See Ekman; however, his research has not inspired this decision, it came out later than the film. Bibliography

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24, 54, 190 Battlestar Galactica (franchise), 10, 28 Days Later, 163, 166 159, 190, 195, 205–9, 211–16, 9/11 terrorist attacks, 159, 189–204, 219, 221–2 205, 207, 209; see also war on Bazin, André, 3 terror Benjamin, Walter, 21–2, 24 bereavement, see grief Bergson, Henri, 31 Adorno, Theodor, 24 Biderman, Ann, 89, 97 advertising, 102–17 Laden, Bin, 194–5 affect Boardwalk Empire, 61, 62, 70 affective space, 136; see also Bones, 155, 166 landscape; see also location Bordwell, David, 4–5 affective turn, 2, 8, 14, 33, 207 boredom, 95–6, 112 ‘moments of’, 7, 28, 32–51, 223, 227 Borgen, 40–5, 138 theory of, 29–33, 223 Boss, 56, 59 compare emotions brain, 34, 206, 208, 210–13, 218; see Al-Qaeda, 229 also theory of mind; see also American Horror Story: Murder House, neuroscience 157, 162–3 Breaking Bad, 52, 54, 56, 62, 64–9 American Pastoral (novel), 225 bridge (as a metaphor), 143, 148–52 Americans, The, 61, 62, 63 Bridge, The, see Bron|Broen Angel, 155 Bridge, The (US version), 152 anger, 135–6, 167–8, 176–87, 219–20 Broadchurch, 152, 227 anguish, see distress Bron|Broen, 9, 136–7, 140, 143, antiheroism, 52–5, 59–70; see also 148–52, 227 heroism Buffy the Vampire Slayer, 155, 159–60, anxiety, 39, 137, 167, 171, 190, 192, 168 201 Aristotle, 19–21, 33, 221 Cagney & Lacey, 87, 98 Arnheim, Rudolph, 3 catharsis, 198 ars moriendi, see television narrative class, politics of, 127 closure cognitivism, 5, 7, 52, 72, 82, 206 Ashford, Michelle, 97 compassion, see spectator engagement audience, 23–4, 30–2, 34–5, 50–1, empathy 75–6, 79–84, 193, 196, 203, 219 Conjuring, The, 161 authenticity, 121, 127 conspiracy, 189–90, 196, 199–203 consumerism, 102–7, 115, 117, 218 Copycat,97 Bálazs, Bela, 3 costume, 107, 111, 124, Balzac, Honoré de, 107–8, 225 cruelty, 130–1, 169 banal nationalism, 140, 143, 145, 150, CSI: Crime Scene Investigation, 155, 166 152; see also identity national cultural studies, 7, 135 Band of Brothers,73 cultural identity, see identity national

249 250 Index cultural memory, see identity social family, 164, 172, 198, 225, 229 custom drama, see genre period drama fashion, 107–111, 225 fear, 18, 77–8, 82–3, 156–8, 164, 185, Dawn of the Dead (remake), 163, 166 191–6, 203–4, 219 Deadwood, 52, 55, 57 of death, 179, 186 death, 78–83, 158–9, 160–2, 165, dread, 163, 164, 192 169–71 ‘repressed’, 180–1 deception, 197–204, 229, 230 terror, 190, 229 Deleuze, Gilles, 4, 31 film theory, 3–5, 27, 29 demons, 168 Following, The, 155 depression, 179, 216 Forbrydelsen, 9, 136–41, 145–8, 151, Descartes, René, 206, 221 228 despair, see distress Forsyte Saga, The (remake), 119 Devil Inside, The, 161 Foucault, Michel, 1, 25 Dexter, 54, 58, 59, 62 Freud, Sigmund, 101, 156, 170, 173, disgust, 156, 184, 210 179–82, 213, 215 ‘death fetish’, 215 dissatisfaction, see frustration uncanny, 156–7, 164, 172, 180, 186 distress, 78, 121, 159; see also anxiety psychoanalysis, 4, 7, 22,96, 114–15, distrust, 195, 196–202, 203–4 156, 173, 179, 215 divorce, 130 Friedan, Betty, 95 Dollhouse, 159 frustration, 112, 115, 121, 177, 187 domestic violence, 180–2 Downton Abbey, 9, 119, 131, 132, 226 Game of Thrones, 55, 60, 66–67 Dracula, 166, 168 Gansa, Alex, 190 Duchamp, Marcel, 106 gaze, 32, 46, 98, 100, 123 duplicity, 195, 202 gender, politics of, 25, 87–101, 95, 137, 205, 213, 214, 219–20 edwardian era, 119, 123, 129, 226; see feminism, 4, 7, 44, 47–50, 87–101, also englishness 102, 215–6, 220 embarrassment, see shame femininity, 109–17 emotional intelligence, 217–20 masculinity, 93–4, 98, 102, 109–17, emotion 165, 225 emotional culture, 2, 13–18, 89–91, patriarchy, 89 107, 112–114 Generation War, 73, 138 emotional return, see affective turn genre emotivism, 94, 106 melodrama, 159–60 moral emotions, see morality nordic noir, 134–52, 227–8 theory of, 16–18, 89–91, 207–208, period drama, 118–33, 226 211,212 political-spy thriller, 8, 145, types of, see under individual names 189–204, 229 compare affect science fiction, 8, 205–22 En by I provinsen, 227 terror tv, 189 englishness, 118–133; see also national trauma tv, 189 identity; see also edwardian era tv horror, 155–88, 228 envy, 109 ghosts, 156, 158, 161–64, 171 Exorcism of Emily Rose, The, 161 Gilligan, Vince, 52 experiencer 32–3, 37, 40–1, 43, 47; see glance, 32, 223 also audience globalization, 118 Index 251 god see religion Jury, The,73 Good Wife, The,55 Gordon, Howard, 190 Kant, Immanuel, 20–1 grief, 121, 135, 158–63, 168–9, 171, Killing, The, see Forbrydelsen 176, 179 Killing, The (US Version), 152 Guantanamo Bay, 221, 242 Knick, The, 224 Guattari, Félix, 31 Kracauer, Sigfried, 3 Guillou, Jan, 154 guilt, 61–2, 65, 169, 177–9, 181, 187, labyrinth (as a metaphor), 145–8, 151, 201, 211 229 Lacan, Jacques, 4, 173–4, 176, 185 Hannibal, 58, 155 imago 173–4 happiness, 114, 126, 167, 185 mirror stage, 173–4, 185, 187 hate, 167, 172, 206, 220, 221 landscape, 124–6, 131, 134–7, 139, heimlich, see uncanny 141–4, 147, 152, 209 cityscape, 134, 137, 145, 150 Hemlock Grove, 155 ‘guilty’, 144, 151 heritage film, 119, 123, 131, 226; see rural, 120, 124, 143 also period drama see also location heroism, 98, 190–3, 195, 198–200; see Lark Rise to Candleford, 118–20, 123–9, also antiheroism 131–133, 227 Hill Street Blues,97 Last Exorcism, The, 161 Hinterland, 138, 152, 228 Lay of the Land, The (novel), 225 Homeland, 10, 59, 66, 189–204, 225, lies, see deception 229–30 lifestyle, 102 Homicide: Life on the Street,97 location, 134, 137, 144, 145; see also hope, 192, 195, 196 landscape House M.D., 54, 56, 155, 157 loneliness, 95, 112, 116, 149, 158, hysteria, 86, 160, 176, 191 198, 218 Lost, 2, 32, 35, 54, 55, 190 identity love, 112, 131, 146, 199–200, 214, collective, 14, 103, 118, 122, 134, 220–1, 230; see also marriage 146, 148–51, 189 Low Winter Sun, 224 individual, 14, 24–5, 102–3, 106–17, Lynch, David, 159–60 146, 171–87, 197, 199 national, 118–22, 133, 137, 140, Mad Men, 2, 6, 8, 29, 40, 45–50, 52, 148–51, 190, 227 54, 66, 87–98, 100–17, 224–5 social, 108, 113, 117–8, 133; see also Man in the Gray Flannel Suit, The collective identity; see also (novel), 225 national identity Manchurian Candidate, The, 192–3 In the Flesh, 155, 164–8, 228 Mankell, Henning, 154 inner self, see personal identity; see Marchlands, 161–3, 165 also intimacy marriage, 112, 114, 126, 129; see also Inspector De Luca, 138 domestic violence Inspector Morse,43 Masters of Sex,97 internet, 22, 33–4 melancholia, 139, 144, 148, 151, 169, intimacy, 91, 102, 107, 111, 121, 159, 170, 178–9; see also nostalgia 217 mise-en-scène, 46, 59, 123, 131 isolation, see loneliness Misfits,74 252 Index modernity, 103–7, 119, 120, 128 private sphere, see intimacy monster, 156–7, 199 production context, 91–2 mood, 125, 127, 130, 135, 137, 148, psychotherapy, 173–88 151–2, 194, 201, 208, 227; see also affect; see also emotion race, politics of, 92, 98 morality, 7, 22, 27, 53, 55–70, 71, 94, rage, see anger 101, 102, 191, 197, 207, 209 Ray Donovan, 55, 97, 224 mourning, 122, 158–60, 168, 170, Red Band Society, 224 171, 177, 187, 190; see also reflexivity, 24–5, 45 grief regret, see melancholia music, 36–8, 124, 145 relativism, 54, 222 religion, 178, 195, 201, 207–8, 211, narrative, see television narrative 213, 221 narrative of suspicion, 202 resentment, 172, 181, 183, 185, 187 neuroscience, 206, 223 Resurrection, 228 Night of the Living Dead, 163 Revenants, Les, 164, 228 nostalgia, 35–7, 119–33, 139, 226, Revolutionary Road (novel), 225 227; see also melancholia revulsion, see disgusting Nurse Jackie, 52, 224 Roddenberry, Gene, 205, 216–18 NYPD Blue, 97, 224 Romero, George A., 164, 172 Rubicon, 190 Originals, The, 155 Oz,55 sadness, 82, 96, 115, 121, 131, 135, 165; see also grief pain, 16, 77–8, 158–60, 167, 197, sea (as a metaphor), 144, 151 210–2, 222 Secret of Crickley Hall, The, 161–3, 165 panic, 177 self, see individual identity Parade’s End, 118–20, 123–4, 129–33 Selfridge, Mr, 119 Paradise, The, 119 Seven, 139, 152 paranoia, 193, 196, 201, 203, 204, Sex and the City,87 Paranormal Activity (franchise), sexuality, 215–6 161 shadow image (as a metaphor), 141, patriotism, 131–2; see also national 143 identity shame, 47, 91, 94, 172 performance, 226 Shaun of the Dead, 163 Person of Interest, 190 Shield, The, 54, 59–60, 62, 67–70, 97 phenomenology, 5, 100 shock, 156, 157, 178 Plato, 21 Shooting the Past, 35–40 plot twist, 198; see also television shyness, 174 narrative Silent Witness,98 point of view, 95 Skins,74 Poirot,43 Smilla’s Feeling for Snow,97 Polseres Vermelles, 71–84 social criticism, 139 postmodernism, 20, 46–7, 66, 205, social mimesis, 105 217 social order, 113, 116, 128 post-structuralism, 26–7 social self, see collective identity Primal Fear,97 Sons of Anarchy,60 Prime Suspect,98 Sopranos, The, 6, 32, 52, 54, 56, 60–3, privacy, see intimacy 65, 92 Index 253 sorrow, see sadness tragedy, 19 SouthLAnd, 8, 67, 87, 89, 91, 97–101 transnational, 134–52, 226 space, 111–13, 136; see also location trauma, 155–68, 173, 176–9, 182, spectator engagement, 27–32, 40, 47, 188–9, 202, 204 51–8, 71, 80–4, 91, 124 True Blood, 156, 168–9 alignment, 57, 61, 76–7, 191, 198 True Detective,59 allegiance, 55, 57–59, 61–70, 191 true self, see identity individual 106 empathy, 27, 39, 56, 71–84, 102, Tunnel, The, 152 105, 149, 152, 192, 207, Twilight (saga), 168–9 210–12, 217, 220, 222, 225 Twin Peaks, 157, 159–60 identification, 8, 53, 59, 60, 65, 191, 192, 222 unhappiness, see sadness sympathy, 7, 25, 27, 53, 56–7, Unit One, 227 61–70, 71, 78, 80, 179, 224, 225 Upstairs, Downstairs, 122–3 Spinoza, Baruch, 31 Star Trek (franchise), 10, 205–208, 213, vampires, 156–8, 164, 168–72, 180, 216–21 182, 186, 228 stereotypes, see identity collective Vampire Diaries, The, 168–71, 228 Strisser på Samsø, 227 vengeance, 149, 207 structuralism, 4 Village, The, 119 structures of feeling, 135, 137, 144; see also theory of emotion Walking Dead, The, 63, 164–5, 171–88 suffragette movement, 129 Wallander (British TV Series), 137, 152, Supernatural, 228 228 suspense, 192, 196, 202 Wallander (Swedish TV Series), 9, 136–7, 139, 142–4, 146, 151, 227 tears, 149, 160, 167, 177, 181, 184, war on terror, 189, 201, 203, 205, 209; 187 see also 9/11 terrorist attacks television narrative 22–3, 28–36, 53–4, Weeds, 52, 54, 60 61–2, 66, 157, 161, 162, 207 Weiner, Matthew, 8, 46, 89, 92 closure, 42, 68–70 welfare state, 139, 142, 148–9, 151 complex tv, 26, 28, 31, 55, 69 werewolves, 171 long form tv, 27, 31, 50–1, 55, 63, West Wing, The, 40, 55 66, 67 Whedon, Joss, 6, 159–60 post-narrativity, 29, 35 White Heat,73 slow television, 40, 124, 224 Wire, The, 40, 55, 57, 97, 225 theory of mind, 212; see also brain; see Wycliffe, 227 also neuroscience threats, 189, 195 X-Files, The, 54–5 Three Days of the Condor, 197 thriller, see genre political spy-thriller zombies, 63, 156–8, 161, 163–8, tone, see mood 171–88, 228