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Anderson Wes: Asteroid City / LF

Asteroid City

"Blood on Satan's Claw is widely regarded as part of the 'unholy trinity' of cult classics which gave birth to the film genre that would become known as folk horror. Along with The Wicker Man and Witchfinder General, it found new ways to terrify audiences using elements of superstition and folklore. Now, fifty years after its release, readers can experience the unearthing of this terror in the film's first official novelisation: a compelling and frightening retelling of the fate of unfortunate villagers sacrificed by their own children as devil worship infiltrates their rural existence."--Provided by publisher.

Beware the buried skull underfoot and watch out for children with fur on their backs...Blood on Satan's Claw is widely regarded as part of the ‘unholy trinity’ of cult classics which gave birth to the film genre that would become known as folk horror. Along with The Wicker Man and Witchfinder General, it found new ways to terrify audiences using elements of superstition and folklore.Now, fifty years after its release, readers can experience the unearthing of this terror in the film’s first official novelisation: a compelling and frightening retelling of the fate of unfortunate villagers sacrificed by their own children as devil worship infiltrates their rural existence.Written by the film’s original screenwriter Robert Wynne-Simmons and featuring haunting new illustrations from Richard Wells, it is an atmospheric and defining cult classic in the making.

or, The Devil's Skin

Blood on Satan's Claw

Library of Gender and Popular Culture

How can we understand intensifying gender inequalities against the backdrop of the rising visibility of popular mediated feminism? Can domestic cultures provide a space for a feminist response and resistance to austerity? This book seeks to address these questions, exploring how the revival of domestic, traditionally feminine activities, such as crafting, baking and sewing, have gone hand-in-hand with the re-politicisation of domestic culture during an era of austerity. Jessica Martin provides an in-depth analysis of key public figures who forged their public personas by co-opting the harsh conditions of austerity, turning them into a 'popular' brand of neoliberal feminism. Drawing on several case studies - including self-identifying feminists, domesticity experts and mothers such as Kirstie Allsopp, Justine Roberts, and Jen Gale, as well as the blogger, cook and anti-austerity activist Jack Munroe - Martin conceptualises the 'austerity celebrity' and explores how these figures have each developed their own style of domesticity activism and politicised domesticity. She also argues that these celebrity responses span the political spectrum, be it Allsopp's active championing of the 'Big Society', individualism and conservatism or Roberts' mobilisation of mothers into a political pressure group active in UK parliamentary politics. Finally, Martin explains how the turn towards a nostalgic domesticity within austerity culture in the UK has intensified during the COVID-19 crisis, paving the way for discourse that accepts escalating inequalities under the guise of a particular notion of white nostalgic femininity, as well as the British blitz spirit, invoking a form of patriotic stoicism and nationalistic sentiment.

How can we understand intensifying gender inequalities against the backdrop of the rising visibility of popular mediated feminism? Can domestic cultures provide a space for a feminist response and resistance to austerity?
 
 This book seeks to address these questions, exploring how the revival of domestic, traditionally feminine activities, such as crafting, baking and sewing, have gone hand-in-hand with the re-politicisation of domestic culture during an era of austerity. Jessica Martin provides an in-depth analysis of key public figures who forged their public personas by co-opting the harsh conditions of austerity, turning them into a ‘popular’ brand of neoliberal feminism. 

Drawing on several case studies – including self-identifying feminists, domesticity experts and mothers such as Kirstie Allsopp, Justine Roberts, and Jen Gale, as well as the blogger, cook and anti-austerity activist Jack Munroe – Martin conceptualises the ‘austerity celebrity’ and explores how these figures have each developed their own style of domesticity activism and politicised domesticity. 

She also argues that these celebrity responses span the political spectrum, be it Allsopp’s active championing of the ‘Big Society’, individualism and conservatism or Roberts’ mobilisation of mothers into a political pressure group active in UK parliamentary politics. Finally, Martin explains how the turn towards a nostalgic domesticity within austerity culture in the UK has intensified during the COVID-19 crisis, paving the way for discourse that accepts escalating inequalities under the guise of a particular notion of white nostalgic femininity, as well as the British blitz spirit, invoking a form of patriotic stoicism and nationalistic sentiment.

The Rise of Celebrity Mothers

Feminisms and Domesticity in Times of Crisis

Film Theory in Practice

The Film Theory in Practice series fills a gaping hole in the world of film theory. By marrying the explanation of a film theory with the interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. This book provides a broad introduction to network theory and shows how this theory can motivate a close reading of Robert Altman's 1975 film Nashville. By offering a tour of the expansive intellectual network we can now call network theory, the book demonstrates how analyzing the ubiquitous characteristics of networks changes the way film fans, students, and scholars might understand cinema's storytelling possibilities. It models a method of interpretation (focusing on character, cinematography, and sound) that students can practice with other feature films. Moreover, it situates film within a larger discourse about art and society, offering students the tools for analyzing other large-form cultural objects. Organized into two parts, the first section of the book presents an overview of network theory, its various facets as a still-emerging discourse, and its historical context in post-industrial life, before turning to Altman's Nashville. It then explores the film's narrative style and character system as a special case of network cinema, to show how there is more than "connectedness" alone to the network form.

Network Theory and Nashville

Shakespeare in the Theatre

Shakespeare in the Theatre: Satoshi Miyagi

A powerful, funny, high-spirited, coming-of-age memoir and manifesto.

Everyone's Seen My Tits

The Bengali filmmaker, Ritwik Kumar Ghatak (1925-1976), wrote, produced, directed and/or acted in plays, feature films and documentaries in Bengal during the socially and politically tumultuous period from the late 1940s through the mid-1970s. Why Ghatak? Within the contexts of Bengali, Indian and world cinema, Ghatak is considered an innovative, revolutionary master of the cinematic medium who possessed a singular cinematic sensibility. He composed numerous essays on film and filmmaking in English and Bengali. Dozens of interviews have been recorded that present an artist who was contemplative, outspoken, at times misunderstood, at turns obstinate and contradictory. 

From his first film, Nagarik ("The Citizen," 1953) through his final film, Jukti Takko ar Gappo ("An Argument, a Debate, and a Story," 1974), Ghatak constructed detailed visual and aural filmic commentaries about modern Bengali culture and society. Twice during his lifetime Bengal was physically rent apart - in 1947 with the Partition of India engendered by the departure of the British and in 1971 by the Bangladeshi War of Independence. In Ghatak's films, the ambivalence and contradictions of Bengali society in post-1947, post-Partition, post-Independence India are pointedly portrayed. Against this frequently adverse milieu, Bengal's modern cultural memory, identity, and history are interrogated and continually reassessed in his cinema.

The Bengali filmmaker, Ritwik Kumar Ghatak (1925-1976), wrote, produced, directed and/or acted in plays, feature films and documentaries in Bengal during the socially and politically tumultuous period from the late 1940s through the mid-1970s. Why Ghatak? Within the contexts of Bengali, Indian and world cinema, Ghatak is considered an innovative, revolutionary master of the cinematic medium who possessed a singular cinematic sensibility. He composed numerous essays on film and filmmaking in English and Bengali. Dozens of interviews have been recorded that present an artist who was contemplative, outspoken, at times misunderstood, at turns obstinate and contradictory. 

From his first film, Nagarik (“The Citizen,” 1953) through his final film, Jukti Takko ar Gappo (“An Argument, a Debate, and a Story,” 1974), Ghatak constructed detailed visual and aural filmic commentaries about modern Bengali culture and society. Twice during his lifetime Bengal was physically rent apart – in 1947 with the Partition of India engendered by the departure of the British and in 1971 by the Bangladeshi War of Independence. In Ghatak’s films, the ambivalence and contradictions of Bengali society in post-1947, post-Partition, post-Independence India are pointedly portrayed. Against this frequently adverse milieu, Bengal’s modern cultural memory, identity, and history are interrogated and continually reassessed in his cinema.

Ritwik Ghatak’s Cinematic Sensibility

The Korean Cinema Book

Cinema Two

Hirokazu Koreeda

Béla Lugosi’s commanding presence, hypnotic voice, and mesmerizing gaze made him the embodiment of Count Dracula, a role that has established him as a cultural icon and a legend of the silver screen forever. &nbsp;But there's so much more to this captivating individual than meets the eye.
&nbsp;
This definitive biography of the man behind that menacing cape takes you deep into the personal life of Béla Lugosi as no other biography can. Exclusive interviews by the author, Robert Cremer, with Lillian Lugosi Donlevy, his wife of 20 years, as well as with Béla’s closest Hungarian relatives and friends, reveal new insights into Béla’s humble beginnings in Transylvania, his political activism in Hungary ‒ which cost him his wife, family and almost his life, his harrowing transatlantic crossing to the U.S. and his struggles here to realize his dream of becoming a&nbsp;success on stage and in film. The story doesn't stop there, but also provides compelling insight into the reasons for Béla’s decline into B-movie productions in Gower Gulch in the 1950s. Exclusive interviews with Edward D. Wood, Jr. unlock heretofore unknown background on Béla’s involvement in the filming of the cult classics Glen or Glenda, Bride of the Monster and Plan 9 from Outer Space as only Ed Wood could provide.
&nbsp;
The ultimate book for cinephiles, horror enthusiasts, and fans of Bela Lugosi is not to be missed. Featuring over 700 photos, family artifacts, and historical documents, many of which have never been seen outside of Lugosi’s own family, collected here for the first time!

Béla Lugosi’s commanding presence, hypnotic voice, and mesmerizing gaze made him the embodiment of Count Dracula, a role that has established him as a cultural icon and a legend of the silver screen forever. &nbsp;But there's so much more to this captivating individual than meets the eye.
&nbsp;
This definitive biography of the man behind that menacing cape takes you deep into the personal life of Béla Lugosi as no other biography can. Exclusive interviews by the author, Robert Cremer, with Lillian Lugosi Donlevy, his wife of 20 years, as well as with Béla’s closest Hungarian relatives and friends, reveal new insights into Béla’s humble beginnings in Transylvania, his political activism in Hungary ‒ which cost him his wife, family and almost his life, his harrowing transatlantic crossing to the U.S. and his struggles here to realize his dream of becoming a&nbsp;success on stage and in film. The story doesn't stop there, but also provides compelling insight into the reasons for Béla’s decline into B-movie productions in Gower Gulch in the 1950s. Exclusive interviews with Edward D. Wood, Jr. unlock heretofore unknown background on Béla’s involvement in the filming of the cult classics Glen or Glenda, Bride of the Monster and Plan 9 from Outer Space as only Ed Wood could provide.
&nbsp;
The ultimate book for cinephiles, horror enthusiasts, and fans of Bela Lugosi is not to be missed. Featuring over 700 photos, family artifacts, and historical documents, many of which have never been seen outside of Lugosi’s own family, collected here for the first time!



Bela Lugosi: The Man Behind the Cape

War, betrayal and espionage in 1980s Ethiopia: a classic of African literature that sealed its author's fate

Oromay

Distinctive, unusual and spectacularly entertaining

Quantick's Quite Difficult Quiz Book

Emergency doctor and amatuer sleuth Tekla Berg grapples with her family's past as terror attack on Stockholm looms

"Stressed-out, sleep-deprived and pill-popping Dr Tekla Berg is as unusual a central character as you will find" Irish Independent "Tekla is a terrific character" Literary Review "Tekla Berg is a brilliant character" Susi Holliday "A memorable protagonist" Imran Mahmood A shootout in a Stockholm suburb leaves two victims seriously injured. They hover between life and death at the Nobel Hospital, where Tekla Berg fights to save their lives. The police dismiss the incident as gang warfare, but a suspicious detective enlists Tekla's help to determine if something much more complex and sinister is at play. And it seems it's only a matter of time before terror spreads throughout the entire city. Meanwhile, Tekla is informed that her mother's house in Dalarna county is to be sold at auction. The village of her birth hasn't crossed her mind for years, but now she decides to make one last visit. Among the things left behind in the house is an enigmatic photograph, in which a ittle girl sits on Tekla's mother's lap at a party. Who is she? Can she help fill in the blanks in Tekla's photographic memory regarding her childhood? And what became of her? Translated from the Swedish by George Goulding and Sarah de Senarclens

Blood Will Tell

Asteroid City

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