This revised and updated edition of a hugely successful book brings together the most valuable and stimulating writings on subcultures, from the early work of the Chicago School on 'deviant' social groups to the present day theories and research. This new edition features a wide range of articles from some of the biggest names in the field including Dick Hebdige, Paul Gilroy and Stanley Cohen, and expertly combines contemporary essays and critique with classic and canonical texts on subcultures. Examining an eclectic array of subcultures, from New Age travellers, to comic book fans, The Reader looks at how they are defined through their social position, styles, sexuality, politics and their music, and this new edition gives expression to the diversity of subcultural identifications, from scenes and 'tribes' to the 'global underground'. With specially selected articles, grouped sections, editors introductions and a general introduction which maps out the field, it gives students and teachers of cultural studies an invaluable study aid.

Horror has been one of the most spectacular and controversial genres in both cinema and fiction - its wild excesses relished by some, vilified by many others. Often defiantly marginal, it nevertheless inhabits the very fabric of everyday life, providing us with ways of imagining and classifying our world; what is evil and what is good; what is monstrous and what is 'normal'; what can be seen and what should remain hidden.
The Horror Reader brings together 29 key articles to examine the enduring resonance of horror across culture. Spanning the history of horror in literature and film and discussing texts from Britain, the United States, Europe, the Caribbean and Hong Kong, it explores a diversity of horror forms from classic gothic literature like Frankenstein and Dr Jekyll and Mr Hyde, to contemporary serial killers, horror film fanzines and low-budget movies such as The Leech Woman and The Texas Chainsaw Massacre.
Themes addressed include:
* the fantastic * horror and psychoanalysis * monstrosities * different Frankensteins * vampires * queer horror * American gothic * splatter and splash films * race and ethnicity * lowbrow and low-budget horror * new regional horror.
The Reader opens with an introduction to 'the field of horror' by Ken Gelder, and each thematic section includes an introductory preface. There is also a comprehensive bibliography of horror literature.

New Vampire Cinema lifts the coffin lid on forty contemporary vampire films, from 1992 to the present day, charting the evolution of a genre that is, rather like its subject, at once exhausted and vibrant, inauthentic and 'original', insubstantial and self-sustaining. Ken Gelder's fascinating study begins by looking at Francis Ford Coppola's Bram Stoker's Dracula and Fran Rubel Kuzui's Buffy the Vampire Slayer - films that seemed for a moment to take vampire cinema in completely opposite directions. New Vampire Cinema then examines what happened afterwards, across a remarkable range of reiterations of the vampire that take it far beyond its original Transylvanian setting: the suburbs of Sweden (Let the Right One In), the forests of North America (the Twilight films), New York City (Nadja, The Addiction), Mexico (Cronos, From Dusk Till Dawn), Japan (Blood: The Last Vampire,

This book presents a cultural history of subcultures, covering a remarkable range of subcultural forms and practices. It begins with London's 'Elizabethan underworld', taking the rogue and vagabond as subcultural prototypes: the basis for Marx's later view of subcultures as the lumpenproletariat, and Henry Mayhew's view of subcultures as 'those that will not work'. Subcultures are always in some way non-conforming or dissenting. They are social - with their own shared conventions, values, rituals, and so on - but they can also seem 'immersed' or self-absorbed. This book identifies six key ways in which subcultures have generally been understood:

• through their often negative relation to work: idle, parasitical, hedonistic, criminal
• their negative or ambivalent relation to class
• their association with territory - the 'street', the 'hood', the club - rather than property
• their movement away from home into non-domestic forms of 'belonging'
• their ties to excess and exaggeration (as opposed to restraint and moderation)
• their refusal of the banalities of ordinary life and in particular, of massification.

Subcultures looks at the way these features find expression across many different subcultural groups: from the Ranters to the riot grrrls, from taxi dancers to drag queens and kings, from bebop to hip hop, from dandies to punk, from hobos to leatherfolk, and from hippies and bohemians to digital pirates and virtual communities. It argues that subcultural identity is primarily a matter of narrative and narration, which means that its focus is literary as well as sociological. It also argues for the idea of a subculturalgeography: that subcultures inhabit places in particular ways, their investment in them being as much imaginary as real and, in some cases, strikingly utopian.

This book presents a cultural history of subcultures, covering a remarkable range of subcultural forms and practices. It begins with London's 'Elizabethan underworld', taking the rogue and vagabond as subcultural prototypes: the basis for Marx's later view of subcultures as the lumpenproletariat, and Henry Mayhew's view of subcultures as 'those that will not work'. Subcultures are always in some way non-conforming or dissenting. They are social - with their own shared conventions, values, rituals, and so on - but they can also seem 'immersed' or self-absorbed. This book identifies six key ways in which subcultures have generally been understood:

• through their often negative relation to work: idle, parasitical, hedonistic, criminal
• their negative or ambivalent relation to class
• their association with territory - the 'street', the 'hood', the club - rather than property
• their movement away from home into non-domestic forms of 'belonging'
• their ties to excess and exaggeration (as opposed to restraint and moderation)
• their refusal of the banalities of ordinary life and in particular, of massification.

Subcultures looks at the way these features find expression across many different subcultural groups: from the Ranters to the riot grrrls, from taxi dancers to drag queens and kings, from bebop to hip hop, from dandies to punk, from hobos to leatherfolk, and from hippies and bohemians to digital pirates and virtual communities. It argues that subcultural identity is primarily a matter of narrative and narration, which means that its focus is literary as well as sociological. It also argues for the idea of a subculturalgeography: that subcultures inhabit places in particular ways, their investment in them being as much imaginary as real and, in some cases, strikingly utopian.

This revised and updated edition of a hugely successful book brings together the most valuable and stimulating writings on subcultures, from the early work of the Chicago School on 'deviant' social groups to the present day reasearch and theories. This new edition features a wide range of articles from some of the biggest names in the field including Dick Hebdige, Paul Gilroy and Stanley Cohen, and expertly combines contemporary essays and critique with classic and canonical texts on subcultures. Examining an eclectic array of subcultures, from New Age travellers, to comic book fans, The Reader looks at how they are defined through their social position, styles, sexuality, politics and their music, and this new edition gives expression to the diversity of subcultural identifications, from scenes and 'tribes' to the 'global underground'. With specially selected articles, grouped sections, editors introductions and a general introduction which maps out the field, it gives students and teachers of cultural studies an invaluable study aid.

Popular fiction sells in the millions, surrounded by an immense industry of producers, distributors and promoters. Yet despite its prevalence it has often been neglected as a subject for academic study.
In this groundbreaking book, Ken Gelder offers a lively and comprehensive account of popular fiction as a distinctive literary and cultural field, tied directly to the logics and practices of entertainment and industry. Drawing on a wide range of popular novelists, from Sir Walter Scott and Marie Corelli to Ian Fleming, J. K. Rowling and Stephen King, the book describes for the first time how the field works, what its distinctive features are, and discusses the ways in which popular fiction is produced, advertised, distributed and read.
As well as outlining the key features of this literary field, "Popular Fiction" ""also provides a critical history of three primary genres: romance, crime fiction and science fiction; and looks at the role of bookshops, fanzinesand prozines in the distribution and reception of popular fiction. Finally, it examines five bestselling popular novelists in detail --John Grisham, Michael Crichton, Anne Rice, Jackie Collins and J. R. R. Tolkein - to see how popular fiction is used, discussed and represented in contemporary culture.
An essential introduction to this dynamic literary and cultural field, "Popular Fiction "is ideal for all those interested in the "culture" of popular fiction.

In this important book, Ken Gelder offers a lively, progressive and comprehensive account of popular fiction as a distinctive literary field. Drawing on a wide range of popular novelists, from Sir Walter Scott and Marie Corelli to Ian Fleming, J. K. Rowling and Stephen King, his book describes for the first time how this field works and what its unique features are. In addition, Gelder provides a critical history of three primary genres - romance, crime fiction and science fiction - and looks at the role of bookshops, fanzines and prozines in the distribution and evaluation of popular fiction. Finally, he examines five bestselling popular novelists in detail - John Grisham, Michael Crichton, Anne Rice, Jackie Collins and J. R. R. Tolkien - to see how popular fiction is used, discussed and identified in contemporary culture.

Insatiable bloodlust, dangerous sexualities, the horror of the undead, uncharted Trannsylvanian wildernesses, and a morbid fascination with the `other': the legend of the vampire continues to haunt popular imagination.
Reading the Vampire examines the vampire in all its various manifestations and cultural meanings. Ken Gelder investigates vampire narratives in literature and in film, from early vampire stories like Sheridan Le Fanu's `lesbian vampire' tale Carmilla and Bram Stoker's Dracula, the most famous vampire narrative of all, to contemporary American vampire blockbusters by Stephen King and others, the vampire chronicles of Anne Rice, `post-Ceausescu' vampire narratives, and films such as FW Murnau's Nosferatu and Bram Stoker's Dracula.
Reading the Vampire embeds vampires in their cultural contexts, showing vampire narratives feeding off the anxieties and fascinations of their times: from the nineteenth century perils of tourism, issues of colonialism and national identity, and obsessions with sex and death, to the `queer' identity of the vampire or current vampiric metaphors for dangerous exchanges of bodily fluids and AIDS.

Insatiable bloodlust, dangerous sexualities, the horror of the undead, uncharted Transylvanian wildernesses and a morbid fascination with the "other: " the legend of the vampire continues to haunt the popular imagination.
"Reading the Vampire" examines the creature in all its various manifestations and cultural meanings. Ken Gelder investigates vampire narratives in literature and in film--from early vampire stories such as Polidori's "The Vampire," J. Sheridan Le Fanu's "lesbian vampire" tale "Carmilla" and Bram Stoker's "Dracula," the most famous vampire narrative of all, to contemporary American vampire blockbusters by Stephen King, the vampire chronicles of Anne Rice, "post-Ceausescu" vampire narratives, and films such as F.W. Murnau's "Nosferatu" and Francis Ford Coppola's "Bram Stoker's Dracula,"
"Reading the" "Vampire" embeds vampires in their cultural contexts, showing how vampire narratives reproduce the anxieties and fascinations of their times--from nineteenth century investmets in travel and tourism, issues of colonialism and national identity and obsessions with sex, to queer identity of the vampire, the association of the vampire with the "global exotic" and current concerns about wayward youth and the family.

Blood-sucking vampires, serial killers, ghosts and ghouls, monsters and freaks--horror provides us with a way of imagining and classifying our world. Through 29 essays, "The Horror Reader" explores the questions of what is evil and what is good; what is monstrous and what is "normal"; what can be seen and what should remain hidden. Covering classic gothic literature and spanning the history of horror in literature and film, it brings together essential writings on this most spectacular and controversial of genres. The range of topics is vast-from Edgar Allan Poe to "Frankenstein" to" The Texas Chainsaw Massacre,"
Contributors include Stephen D. Arata; Philip Brophy; Sue-Ellen Case; Terry Castle; Carol J. Clover; Joan Copjec; Barbara Creed; Teresa A. Goddu; Marie-Helene Huet; Graham Huggan; Leon Hunt; Tania Modleski; Jose Monleon; Franco Moretti; Paul O'Flinn; Fatimah Tobing Rony; Mary Russo; David Sanjek; Mark Seltzer; Elaine Showalter; Vivien Sobchack; Tzvetan Todorov; Gregory A. Waller; Patricia White; Jennifer Wicke; Elizabeth Young; Audrey Yue; and Slavoj Zizek.

This Element looks at adaptations of bestselling works of popular fiction to cinema, television, stage, radio, video games and other media platforms. It focuses on 'transmedia storytelling', building its case studies around the genre of modern fantasy: because the elaborate storyworlds produced by writers like J. R. R. Tolkien, J. K. Rowling and George R. R. Martin have readily lent themselves to adaptations across various media platforms. This has also made it possible for media entertainment corporations to invest in them over the long term, enabling the development of franchises through which their storyworlds are presented and marketed in new ways to new audiences.

This book brings together new contributions in Popular Fiction Studies, giving us a vivid sense of new directions in analysis and focus. It looks into the histories of popular genres such as the amatory novel, imperial romance, the western, Australian detective fiction, Whitechapel Gothic novels, the British spy thriller, Japanese mysteries, the 'new weird', fantasy, girl hero action novels and Quebecois science fiction. It also examines the production, reproduction and distribution of popular fiction as it carves out space for itself in transnational marketplaces and across different media entertainment systems; and it discusses the careers of popular authors and the various investments in popular fiction by readers and fans. This book will be indispensable for anyone with a serious interest in this prolific but highly distinctive literary field.

Colonial Australia produced a vast number of journals and magazines that helped to create an exuberant literary landscape. They were filled with lively contributions by many of the key writers and provocateurs of the day (and of the future). Writers such as Marcus Clarke, Rolf Boldrewood, Ethel Turner, and Katharine Susannah Prichard published for the first time in these journals. This book offers a fascinating selection of material; a miscellany of content that enabled the 'free play of intellect' to thrive and, matched with wry visual design, made attractive artifacts that demonstrate the role this period played in the growth of an Australian literary culture.

Over the course of the 19th century a remarkable array of character types appeared - and disappeared - in Australian literature: the swagman, the larrikin, the colonial detective, the bushranger, the 'currency lass', the squatter, and more. Some had a powerful influence on the colonies' developing sense of identity; others were more ephemeral. But all had a role to play in shaping and reflecting the social and economic circumstances of life in the colonies.In Colonial Australian Fiction: Character Types, Social Formations and the Colonial Economy, Ken Gelder and Rachael Weaver explore the genres in which these characters flourished: the squatter novel, the bushranger adventure, colonial detective stories, the swagman's yarn, the Australian girl's romance. Authors as diverse as Catherine Helen Spence, Rosa Praed, Henry Kingsley, Anthony Trollope, Henry Lawson, Miles Franklin, Barbara Baynton, Rolf Boldrewood, Mary Fortune and Marcus Clarke were fascinated by colonial character types, and brought them vibrantly to life.As this book shows, colonial Australian character types are fluid, contradictory and often unpredictable. When we look closely, they have the potential to challenge our assumptions about fiction, genre and national identity.

New Vampire Cinema lifts the coffin lid on forty contemporary vampire films, from 1992 to the present day, charting the evolution of a genre that is, rather like its subject, at once exhausted and vibrant, inauthentic and 'original', insubstantial and self-sustaining. Ken Gelder's fascinating study begins by looking at Francis Ford Coppola's Bram Stoker's Dracula and Fran Rubel Kuzui's Buffy the Vampire Slayer - films that seemed for a moment to take vampire cinema in completely opposite directions. New Vampire Cinema then examines what happened afterwards, across a remarkable range of reiterations of the vampire that take it far beyond its original Transylvanian setting: the suburbs of Sweden (Let the Right One In), the forests of North America (the Twilight films), New York City (Nadja, The Addiction), Mexico (Cronos, From Dusk Till Dawn), Japan (Blood: The Last Vampire,

Ecocritical Concerns and the Australian Continent investigates literary, historical, anthropological, and linguistic perspectives in connection with activist engagements. The necessary cross-fertilization between these different perspectives throughout this volume emerges in the resonances between essays exploring recurring concerns ranging from biodiversity and preservation policies to the devastating effects of the mining industries, to present concerns and futuristic visions of the effects of climate change. Of central concern in all of these contexts is the impact of settler colonialism and an increasing turn to indigenous knowledge systems. A number of chapters engage with questions of ecological imperialism in relation to specific sociohistorical moments and effects, probing early colonial encounters between settlers and indigenous people, or rereading specific forms of colonial literature. Other essays take issue with past and present constructions of indigeneity in different contexts, as well as with indigenous resistance against such ascriptions, while the importance of an understanding of indigenous notions of “care for country� is taken up from a variety of different disciplinary angles in terms of interconnectedness, anchoredness, living country, and living heritage. 

An invaluable academic resource, this investigation tracks the trends of contemporary Australian fiction with clear, approachable language and well-known works to illustrate points. A complete study of the major genres of Australian fiction that have flourished since 1989, this reference covers the popular--including crime fiction, science fiction, fantasy, and romance novels--as well as the literary. Novels used and referenced in this wide-ranging survey include Murray Bail's "Eucalyptus," Kate Grenville's "Secret River," and Richard Flanagan's "Gould's Book of Fish." Outside of studying literary themes, the effects of globalization on Australian fiction is also explored.

Subcultures attract a great deal of interest, both in popular media and in academic work.

Comprehensive and fascinating, these four volumes represent work on subcultures across several disciplines: cultural history, cultural studies, criminology and sociology. Beginning by looking at accounts of subcultures in sixteenth-century England, the set then presents case studies that contrast work on gangs and graffiti with CCCS work on subcultures. Volume three then follows CCCS work on punks, by turning to music subcultures, and, lastly, the fourth volume highlights five recent trends in subcultural studies - body subcultures, sexed subcultures, fan and micro-media communities, grassroots and 'neo-pagan' subcultures, and 'virtual communities' and cybercultures.