Rod Serling’s anthology series The Twilight Zone is recognized as one of the greatest television shows of all time. Always intelligent and thought-provoking, the show used the conventions of several genres to explore such universal qualities as violence, fear, prejudice, love, death, and individual identity. This comprehensive reference work gives a complete history of the show, from its beginning in 1959 to its final 1964 season, with critical commentaries, incisive analyses, and the most complete listing of casts and credits ever published. Biographical profiles of writers and contributors are included, followed by detailed appendices, bibliography and index.

The Encyclopedia of Television, second edtion is the first major reference work to provide description, history, analysis, and information on more than 1100 subjects related to television in its international context. For a full list of entries, contributors, and more, visit the Encyclo pedia of Television, 2nd edition website.

CBS’s The Twilight Zone (1959–1964) remains a benchmark of serious telefantasy and one of the most iconic series in the history of American television. Barry Keith Grant carefully situates The Twilight Zone within the history of broadcast television and American culture, both of which were changing dramatically during the five seasons the series originally aired. At the same time, the genres of science fiction, horror, and fantasy were moving from marginal to mainstream, a cultural shift that The Twilight Zone was both part of and largely responsible for. Grant begins by considering The Twilight Zone’s use of genre conventions and iconography to craft its pithy parables. The show shared visual shorthand that addressed both older audiences familiar with Hollywood movies but unfamiliar with fantasy and science fiction as well as younger audiences more attuned to these genres. Rod Serling looms large in the book as the main creative force of The Twilight Zone, and Grant explains how he provided the show’s artistic vision and its place within the various traditions of the fantastic. Tracing motifs and themes in numerous episodes, Grant demonstrates how The Twilight Zone functioned as an ideal example of collective authorship that powerfully expressed both timeless terrors and the anxieties of the age, such as the Cold War, in thought-provoking fantasy. Grant argues that the imaginary worlds offered by the show ultimately endorse the Americanism it simultaneously critiques. The striking blending of the fantastic and the familiar that Grant identifies in The Twilight Zone reflected Serling’s goal of offering serious stories in a genre that had previously been targeted only to juvenile television audiences. Longtime fans of the show and new viewers of Jordan Peele’s 2019 reboot alike will enjoy this deep dive into the original series’ history, style, and significance.

An exciting new strand in The Television Series, the ‘Moments in Television’ collections celebrate the power and artistry of television, whilst interrogating key critical concepts in television scholarship. Each ‘Moments’ book is organised around a provocative binary theme. Sound / image reassesses the synergy between televisual images, and sounds and music, as a key creative interaction warranting closer attention. Through close scrutiny of visual and sonic elements, the book’s chosen programmes are persuasively illuminated in new ways. The book explores an eclectic range of TV fictions, dramatic and comedic. Contributors from diverse perspectives come together to expand and enrich the kind of close analysis most commonly found in television aesthetics. Sustained, detailed programme analyses are sensitively framed within historical, technological, institutional, cultural, creative and art-historical contexts.

The music for science fiction television programs, like music for science fiction films, is often highly distinctive, introducing cutting-edge electronic music and soundscapes. There is a highly particular role for sound and music in science fiction, because it regularly has to expand the vistas and imagination of the shows and plays a crucial role in setting up the time and place. Notable for its adoption of electronic instruments and integration of music and effects, science fiction programs explore sonic capabilities offered through the evolution of sound technology and design, which has allowed for the precise control and creation of unique and otherworldly sounds. This collection of essays analyzes the style and context of music and sound design in Science Fiction television. It provides a wide range of in-depth analyses of seminal live-action series such as Doctor Who, The Twilight Zone, and Lost, as well as animated series, such as The Jetsons. With thirteen essays from prominent contributors in the field of music and screen media, this anthology will appeal to students of Music and Media, as well as fans of science fiction television.

THE TWILIGHT ZONE FAQ:ALL THAT'S LEFT TO KNOW ABOUT THE FIFTH DIMENSION AND BEYOND

While film and television seem to be closely allied screen media, our feature films and television series have seldom been successfully adapted across those screens. In fact, rather than functioning as portals, those allied media often seem, quite literally, screens that filter out something that made the source work so popular in its original form. Differences in budget, running times, cast, viewing habits, screen size and shape all come into play, and this volume’s aim is to track a number of popular texts in the course of their adaptive journeys across the screens in order to sketch the workings of that cross-media adaptation. For its specific examples, the volume draws on a single genre—science fiction—not only because it is one of the most popular today in either film or television, but also because it is arguably the most self-conscious of contemporary genres, and thus one that most obviously frames the terms of these technological adaptations. The essays included here mine that reflexive character, in both highly successful and in failed efforts at cross-media adaption, to help us understand what film and television achieve in screening science fiction, and to reveal some of the key issues involved in all of our efforts to navigate the various screens that have become part of contemporary culture.