Emotions in Contemporary TV Series

Alberto N. García is Associate Professor of Film and Television Studies at the University of Navarra, Spain. He has been Visiting Scholar at Fordham University, USA and Visiting Professor at the University of Stirling, UK, George Washington University, USA, and Universidad de los Andes, Chile. He has published his work in journals such as Post Script, Comunicación y Sociedad, Zer and Analisi. He is co-editor of Landscapes of the Self. The Cinema of Ross McElwee (2007), and author of El cine de no-ficción en Martín Patino (2008).

• List of FiguresNotes on ContributorsIntroduction; Alberto N. GarcíaPART I: THEORETICAL AND GENERAL APPROACH1. Emotional Culture and TV Narrative; Alejandro García and Ana Marta González2. The Emergence of 'Affect' in Contemporary TV Fictions; Robin Nelson3. Moral Emotions, Antiheroes and the Limits of Allegiance; Alberto N. García 4. Group Empathy? A Conceptual Proposal, Apropos of Polseres Vermelles; Héctor Pérez LópezPART II: COLLECTIVE IDENTITIES AND EMOTIONS5. Women, Television and Feelings: Theorizing Emotional Difference of Gender in SouthLAnd and Mad Men; Elke Weismann6. A Revolution in Urban Lifestyle: Mad Men's Narrative Revisited as a Social Lab; Lourdes Flamarique7. Performing Englishness: Postnational Nostalgia in Lark Rise to Candleford and Parade's End; Rosalía Baena8. Nordic Noir Location, Identity and Emotion; Gunhild AggerPART III: GENRE AND EMOTIONS9. Loss is Part of the Deal: Love, Fear and Mourning in TV Horror; Stacey Abbott10. Apocalyptic Psycotherapy: Emotion and Identity in AMC's The Walking Dead; Kyle W. Bishop11. Homeland: Fear and Distrust as Key Elements of the Post-9/11 Political-Spy Thriller; Pablo Echart and Pablo Castrillo12. Emotions in Star Trek and Battlestar Galactica: What Makes us Human; Claudia WassmannNotesBibliographyIndex

“I have engaged intensively in the study of television series but my main interest is with reception studies and the related empirical research. Having said that, I find media studies’ way of grounding theoretical development in contemporary popular culture very compelling. It is a persuasive way of adapting Haraway’s claim that all knowledge is historically contingent rather than universal … . And Emotions in Contemporary TV Series does exactly that. Thus, it is very instructive for scholars and aficionados alike.” (Daniela Schlütz,Projections, Vol. 15 (1), 2021)