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Anderson Wes: The French Dispatch / LF

The French Dispatch

Picador Collection

In his own inimitable style, Richard E. Grant documents what it is to become a film star.

In his own inimitable style, Richard E. Grant documents what it is to become a film star.

With Nails

Creative Film Editing

Cutting Rhythms

Published to coincide with the release of Joker: Folie à Deux, the sequel to Todd Phillips’ iconic blockbuster, this imaginative reading sees Joker as an economic and political allegory, presenting unexpected and dazzling insights into contemporary capitalism.
What could be more surprising than the cinematic presentation of the&nbsp;Joker as a key to solving our present economic and political predicament?&nbsp;Send In the Clowns! leads us precisely there. Grip this movie’s visual language, its authors insist, and we can also grasp a political grammar, available to all, that articulates a new, world-changing solidarity.
The predicament Send In the Clowns! diagnoses is urgent: the way late capitalism ensures astonishing inequality, unleashing a backlash in conspiracy, violence, and authoritarianism. These pages map this unraveling onto the narrative of Joker. When the movie begins in 1981, neoliberal tides are shifting the sands: the rise of insecure work; the destabilizing of welfare; the explosion of racialized incarceration. A close reading of the film allows Kennedy and McNaughton to isolate and confront these phenomena.
Send In the Clowns! shows how melodrama has become late capitalism’s preferred genre. It appears in neoliberal economic theory; in a media seduced by caricatured villainy; in state justifications for war. Melodrama allows demagogues to depict themselves as saviors and decry political opponents as criminals, threatening the foundations of democracy itself.
The myth of the lone superhero has brought us to the brink of disaster. If we don’t want jokers for president, we must empower the clowns!

Popular Politics after Neoliberalism

Clown for President!

Film festivals, once seen as a matter for journalism, are now increasingly the subject of attention within scholarly Film Studies. They are, as Mar Diestro-Dopido argues, not only of cultural value in themselves but are also sites of cinematic, artistic, social, political and economic exchange.

Cinema and Cultural Exchange

Film Festivals

"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

The official art book for the movie Doctor Strange, the 13th title reissue of the 24-book Marvel Studios' The Infinity Saga series published as a resized matching set.

The official art book for the movie Doctor Strange, the 13th title reissue of the 24-book Marvel Studios' The Infinity Saga series published as a resized matching set.

Marvel Studios' The Infinity Saga - Doctor Strange: The Art of the Movie

How a Doll Remade the World

Barbieland

Mastering Screenplay Form and Style

This book is the first dedicated edited collection that explores the virtualization of screen-making processes from pre-production to post-production, while attuning to the aesthetic, ideological and performative contexts upended by these integrated technologies.

What is Real?

The Screens of Virtual Production

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

Networked Bollywood&nbsp;provides interdisciplinary analysis of the role of the stars in the transformation of Hindi cinema into a global entertainment industry. The first Indian film was made in 1913. However, filmmaking was recognized as an industry almost a hundred years later. Yet, Indian films have been circulating globally since their inception. This book unearths this oft-elided history of Bollywood's globalization through multilingual, transnational research and discursive cultural analysis.&nbsp;The author illustrates how over the decades, a handful of primarily male megastars, as the heads of the industry's most prominent productions and corporations, combined overwhelming charismatic affect with unparalleled business influence. Through their ¿star switching power,¿ theorized here as a deeply gendered phenomenon and manifesting broader social inequalities, India's most prominent stars instigated new flows of cinema, industrial collaborations, structured distinctive business models, influenced state policy and diplomatic exchange, thereby defining the future of Bollywood's globalization.

Networked Bollywood&nbsp;provides interdisciplinary analysis of the role of the stars in the transformation of Hindi cinema into a global entertainment industry. The first Indian film was made in 1913. However, filmmaking was recognized as an industry almost a hundred years later. Yet, Indian films have been circulating globally since their inception. This book unearths this oft-elided history of Bollywood's globalization through multilingual, transnational research and discursive cultural analysis.&nbsp;The author illustrates how over the decades, a handful of primarily male megastars, as the heads of the industry's most prominent productions and corporations, combined overwhelming charismatic affect with unparalleled business influence. Through their “star switching power,” theorized here as a deeply gendered phenomenon and manifesting broader social inequalities, India's most prominent stars instigated new flows of cinema, industrial collaborations, structured distinctive business models, influenced state policy and diplomatic exchange, thereby defining the future of Bollywood's globalization.

How Star Power Globalized Hindi Cinema

Networked Bollywood

"Bad Sex examines the representation of sex and sexuality in Anglo-American drama and 'dramedy' shows like Fleabag (2019), Sex Education (2019-), I May Destroy You (2020) and Please Like Me (2013-16), arguing that TV is a key cultural site in which the politics of sexuality and gender are negotiated under contemporary conditions of neoliberalism"--

Bad Sex traces the evolution of representations of sex on screen, from earlier portrayals of sex as glamorous or taboo, to more complex depictions of often awkward or painful experiences and feelings.

Jacqueline Gibbs, Billy Holzberg, and Aura Lehtonen examine the representation of sex and sexuality in contemporary English language drama and ‘dramedy’ shows like Fleabag (2016, 2019), Sex Education (2019-23), I May Destroy You (2020) and Euphoria (2019-), arguing that TV is where the politics of sexuality and gender is negotiated under the contemporary conditions of neoliberalism.
 
 Through a cultural analysis of key television shows, they identify this shift as driven by the diversification of representations of sex and sexuality, as women, trans and non-binary, Black and minority ethnic, working-class and disabled TV professionals carve some space in a traditionally white, middle-class, cis male dominated industry. In doing so, they explore the affective potential and limits of ‘bad’ sex on our screens and what these representations can tell us about sexual politics and gender cultures today.

Sexuality, Gender and Affect in Contemporary TV

Bad Sex

The French Dispatch

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