Keith Mcdonald Wayne Johnson (45 results)

Soft cover. Condition: Very Good+. First Edition. 192 pp. Digest format. Volume 14, number 8. Light wear. Cover art by Wayne Barlowe; interiors by: Laurie Harden; Anthony Bari; M. C. Valada; John Johnson; Pat Morrissey; Janet Aulisio; and Terry Lee. This issue contains: Xenogenesis - a novella-length essay by Harlan Ellison; The Death Artist - a novelette by Alexander Jablokov; Mrs Byres and the Dragon - a novelette by Keith Roberts; The Coon Rolled Down and Ruptured His Larinks - a Squeezed Novel by Mr Skunk - a novelette by Dafydd ab Hugh; Toward Kilimanjaro - a novelette by Ian McDonald; Stealing for the Record - a short story by Robert Frazier; Dry Niger - a short story by M. Shayne Bell; Bears Discover Fire - a short story by Terry Bisson; and Editorial: Sharing Universes by Isaac Asimov; along with the usual features. Size: 12mo. Wayne Barlowe; Laurie Harden; Anthony Bari; M. C. Valada; John Johnson; Pat Morrissey; Janet Aulisio; Terry Lee; (illustrator). Book.…

Condition: New.

Paperback. Condition: New. This book looks at contemporary Gothic cinema within a transnational approach. With a focus on the aesthetic and philosophical roots which lie at the heart of the Gothic, the study invokes its literary as well as filmic forebears, by exploring how these styles informed strands of the modern filmic Gothic: the ghost narrative, folk horror, the vampire movie, cosmic horror and finally, the zombie film. In recent years, the concept of transnationalism has 'trans'-cended its original boundaries, perhaps excessively in the minds of some. Originally defined in the wake of the rise of globalisation in the 1990s, as a way to study cinema beyond national boundaries, where the look and the story of a film reflected the input of more than one nation, or region, or culture. It was considered too confining to study national cinemas in an age of internationalization, witnessing the fusions of cultures, and post-colonialism, exile and diasporas. The concept allows us to appreciate the broader range of forces from a wider international perspective while at the same time also engaging with concepts of nationalism, identity and an acknowledgement of cinema itself. It also facilitated studies to focus on notions of hybridity where terms were not fixed but were constantly shifting and mobile.The central idea of the book is that after horror/Gothic film was dragged into disrepute by the rise of torture porn and endless North American remakes, a set of international filmmakers are seeking to emphasize the aesthetic, artistic and philosophical potential of the Gothic. Such filmmakers include Guillermo del Toro (Crimson Peak), Ana Lily Amirpour (A Girl Walks Home Alone at Night), Park Chan-wook (The Handmaiden, Stoker), Tomas Alfredson (Let the Right One In), Wim Wenders (Only Lovers Left Alive), Ben Wheatley (A Field in England), Jane Campion (Top of the Lake), and Carol Morley (The Falling).Although written in an accessible manner, the book incorporates theory and engages extensively into research to tap into key developments in Gothic studies - transnationalism, fandom and genre fiction, and transmedia exchanges - bringing these together along with popular culture and associated phenomena.…

Condition: As New. Unread book in perfect condition.

paperback. Condition: New. Brand new book, sourced directly from publisher. Dispatch time is 24-48 hours from our warehouse. Book will be sent in robust, secure packaging to ensure it reaches you securely.

Paperback. Condition: New. This book looks at contemporary Gothic cinema within a transnational approach. With a focus on the aesthetic and philosophical roots which lie at the heart of the Gothic, the study invokes its literary as well as filmic forebears, by exploring how these styles informed strands of the modern filmic Gothic: the ghost narrative, folk horror, the vampire movie, cosmic horror and finally, the zombie film. In recent years, the concept of transnationalism has 'trans'-cended its original boundaries, perhaps excessively in the minds of some. Originally defined in the wake of the rise of globalisation in the 1990s, as a way to study cinema beyond national boundaries, where the look and the story of a film reflected the input of more than one nation, or region, or culture. It was considered too confining to study national cinemas in an age of internationalization, witnessing the fusions of cultures, and post-colonialism, exile and diasporas. The concept allows us to appreciate the broader range of forces from a wider international perspective while at the same time also engaging with concepts of nationalism, identity and an acknowledgement of cinema itself. It also facilitated studies to focus on notions of hybridity where terms were not fixed but were constantly shifting and mobile.The central idea of the book is that after horror/Gothic film was dragged into disrepute by the rise of torture porn and endless North American remakes, a set of international filmmakers are seeking to emphasize the aesthetic, artistic and philosophical potential of the Gothic. Such filmmakers include Guillermo del Toro (Crimson Peak), Ana Lily Amirpour (A Girl Walks Home Alone at Night), Park Chan-wook (The Handmaiden, Stoker), Tomas Alfredson (Let the Right One In), Wim Wenders (Only Lovers Left Alive), Ben Wheatley (A Field in England), Jane Campion (Top of the Lake), and Carol Morley (The Falling).Although written in an accessible manner, the book incorporates theory and engages extensively into research to tap into key developments in Gothic studies - transnationalism, fandom and genre fiction, and transmedia exchanges - bringing these together along with popular culture and associated phenomena.…

Condition: New.

Condition: As New. Unread book in perfect condition.

Paperback. Condition: Brand New. 178 pages. 9.01x6.00x0.50 inches. In Stock.

Paperback. Condition: Brand New. 178 pages. 9.01x6.00x0.50 inches. In Stock.

Condition: New.

hardcover. Condition: Fine.

Paperback. Condition: New. This book looks at contemporary Gothic cinema within a transnational approach. With a focus on the aesthetic and philosophical roots which lie at the heart of the Gothic, the study invokes its literary as well as filmic forebears, by exploring how these styles informed strands of the modern filmic Gothic: the ghost narrative, folk horror, the vampire movie, cosmic horror and finally, the zombie film. In recent years, the concept of transnationalism has 'trans'-cended its original boundaries, perhaps excessively in the minds of some. Originally defined in the wake of the rise of globalisation in the 1990s, as a way to study cinema beyond national boundaries, where the look and the story of a film reflected the input of more than one nation, or region, or culture. It was considered too confining to study national cinemas in an age of internationalization, witnessing the fusions of cultures, and post-colonialism, exile and diasporas. The concept allows us to appreciate the broader range of forces from a wider international perspective while at the same time also engaging with concepts of nationalism, identity and an acknowledgement of cinema itself. It also facilitated studies to focus on notions of hybridity where terms were not fixed but were constantly shifting and mobile.The central idea of the book is that after horror/Gothic film was dragged into disrepute by the rise of torture porn and endless North American remakes, a set of international filmmakers are seeking to emphasize the aesthetic, artistic and philosophical potential of the Gothic. Such filmmakers include Guillermo del Toro (Crimson Peak), Ana Lily Amirpour (A Girl Walks Home Alone at Night), Park Chan-wook (The Handmaiden, Stoker), Tomas Alfredson (Let the Right One In), Wim Wenders (Only Lovers Left Alive), Ben Wheatley (A Field in England), Jane Campion (Top of the Lake), and Carol Morley (The Falling).Although written in an accessible manner, the book incorporates theory and engages extensively into research to tap into key developments in Gothic studies - transnationalism, fandom and genre fiction, and transmedia exchanges - bringing these together along with popular culture and associated phenomena.…

Condition: New.

hardcover. Condition: New. Brand new book, sourced directly from publisher. Dispatch time is 24-48 hours from our warehouse. Book will be sent in robust, secure packaging to ensure it reaches you securely.

Condition: As New. Unread book in perfect condition.

Condition: New.

Condition: New.

Hardback. Condition: New. This book considers the presence of the supernatural and Gothic elements of the Western on screen. These dark and sinister undertones often exist in Western narratives to draw attention to the ever-present issue of death and its haunting resonance which characters encounter. This book examines this through key historic moments in Western film and its contemporary incarnations. The book detects imposing correlations in themes and currents between the Gothic and the Western relating to existential crisis and a loss of faith in ideologies and institutions. These themes represent the tensions between the old and the new, the deranged insistence on civility and order in a chaotic landscape, disillusionment and the shattering of faith in the natural order, and even nature and order themselves. The Western, just like the Gothic tale, reminds us that new frontiers are mired in the past, and optimism and survival are hunted down and haunted by guilt-ridden past and passed anxieties and traumas.This book demonstrates and illuminates the uncanny coalition that can be seen between these two traditions epitomised in the tales of the spectral West. Take, for instance, the seminal psychological Western of the 1950s, The Searchers (1956), where the unspoken horrors of the past haunts the behaviour of the anti-hero, Ethan Edwards (played by John Wayne) and is an omnipresent as well as a daunting presence which looms throughout the narrative of the film; or Sicario (2016) where a naive FBI agent (played by Emily Blunt) is horrified by the malevolence of inhumanity which haunts borders in conflict and makes a mockery of morality. But most important to both films, as well as to countless others, is the brooding presence of the landscape itself, which intrudes like a spectral entity.This tension has often presented a dilemma in such a recognisable genre. As Steve Neale has suggested, there is a problem with the 'central role of iconography in the Western'. It is as if, according to Neil Campbell, 'by the very nature of its mythic representations' there exists 'a type of hyper-reality, a simulation reproducing images conforming to some already defined, but possibly non-existent, sense of West-ness'. And yet, as the book demonstrates, rather than being hyper-real, and by definition not 'real', these mythic 'representations' are ghostly or spectral revenants. Through that process, we may then be able to distinguish, not indeed a problem or a dilemma, but a more deeply felt connection between the past and the present, between nature, space and time and any hope of a worthwhile future.…

Condition: As New. Unread book in perfect condition.

Condition: New. In English.

Hardback. Condition: New. This book considers the presence of the supernatural and Gothic elements of the Western on screen. These dark and sinister undertones often exist in Western narratives to draw attention to the ever-present issue of death and its haunting resonance which characters encounter. This book examines this through key historic moments in Western film and its contemporary incarnations. The book detects imposing correlations in themes and currents between the Gothic and the Western relating to existential crisis and a loss of faith in ideologies and institutions. These themes represent the tensions between the old and the new, the deranged insistence on civility and order in a chaotic landscape, disillusionment and the shattering of faith in the natural order, and even nature and order themselves. The Western, just like the Gothic tale, reminds us that new frontiers are mired in the past, and optimism and survival are hunted down and haunted by guilt-ridden past and passed anxieties and traumas.This book demonstrates and illuminates the uncanny coalition that can be seen between these two traditions epitomised in the tales of the spectral West. Take, for instance, the seminal psychological Western of the 1950s, The Searchers (1956), where the unspoken horrors of the past haunts the behaviour of the anti-hero, Ethan Edwards (played by John Wayne) and is an omnipresent as well as a daunting presence which looms throughout the narrative of the film; or Sicario (2016) where a naive FBI agent (played by Emily Blunt) is horrified by the malevolence of inhumanity which haunts borders in conflict and makes a mockery of morality. But most important to both films, as well as to countless others, is the brooding presence of the landscape itself, which intrudes like a spectral entity.This tension has often presented a dilemma in such a recognisable genre. As Steve Neale has suggested, there is a problem with the 'central role of iconography in the Western'. It is as if, according to Neil Campbell, 'by the very nature of its mythic representations' there exists 'a type of hyper-reality, a simulation reproducing images conforming to some already defined, but possibly non-existent, sense of West-ness'. And yet, as the book demonstrates, rather than being hyper-real, and by definition not 'real', these mythic 'representations' are ghostly or spectral revenants. Through that process, we may then be able to distinguish, not indeed a problem or a dilemma, but a more deeply felt connection between the past and the present, between nature, space and time and any hope of a worthwhile future.…

Condition: As New. Unread book in perfect condition.

Hardcover. Condition: Brand New. 250 pages. 9.01x6.00x1.00 inches. In Stock.

Condition: New.

Paperback. Condition: New. This book looks at contemporary Gothic cinema within a transnational approach. With a focus on the aesthetic and philosophical roots which lie at the heart of the Gothic, the study invokes its literary as well as filmic forebears, by exploring how these styles informed strands of the modern filmic Gothic: the ghost narrative, folk horror, the vampire movie, cosmic horror and finally, the zombie film. In recent years, the concept of transnationalism has 'trans'-cended its original boundaries, perhaps excessively in the minds of some. Originally defined in the wake of the rise of globalisation in the 1990s, as a way to study cinema beyond national boundaries, where the look and the story of a film reflected the input of more than one nation, or region, or culture. It was considered too confining to study national cinemas in an age of internationalization, witnessing the fusions of cultures, and post-colonialism, exile and diasporas. The concept allows us to appreciate the broader range of forces from a wider international perspective while at the same time also engaging with concepts of nationalism, identity and an acknowledgement of cinema itself. It also facilitated studies to focus on notions of hybridity where terms were not fixed but were constantly shifting and mobile.The central idea of the book is that after horror/Gothic film was dragged into disrepute by the rise of torture porn and endless North American remakes, a set of international filmmakers are seeking to emphasize the aesthetic, artistic and philosophical potential of the Gothic. Such filmmakers include Guillermo del Toro (Crimson Peak), Ana Lily Amirpour (A Girl Walks Home Alone at Night), Park Chan-wook (The Handmaiden, Stoker), Tomas Alfredson (Let the Right One In), Wim Wenders (Only Lovers Left Alive), Ben Wheatley (A Field in England), Jane Campion (Top of the Lake), and Carol Morley (The Falling).Although written in an accessible manner, the book incorporates theory and engages extensively into research to tap into key developments in Gothic studies - transnationalism, fandom and genre fiction, and transmedia exchanges - bringing these together along with popular culture and associated phenomena.…

Condition: New. In English.

Hardback. Condition: New. This book looks at contemporary Gothic cinema within a transnational approach. With a focus on the aesthetic and philosophical roots which lie at the heart of the Gothic, the study invokes its literary as well as filmic forebears by exploring how these styles informed strands of the modern filmic Gothic: the ghost narrative, folk horror, the vampire movie, cosmic horror and, finally, the zombie film. In recent years, the concept of transnationalism has 'trans'-cended its original boundaries, perhaps excessively in the minds of some. Originally defined in the wake of the rise of globalisation in the 1990s, as a way to study cinema beyond national boundaries, where the look and the story of a film reflected the input of more than one nation, or region, or culture. It was considered too confining to study national cinemas in an age of internationalization, witnessing the fusions of cultures, and post-colonialism, exile and diasporas. The concept allows us to appreciate the broader range of forces from a wider international perspective while at the same time also engaging with concepts of nationalism, identity and an acknowledgement of cinema itself.…

Condition: As New. Unread book in perfect condition.

Condition: New. &Uumlber den AutorKeith McDonald holds a PhD from Birkbeck College, the University of London, and is Senior Lecturer in Film Studies and Media at York St John University. He is the co-author of Guillermo del Toro: Film as Alchemi.