In "Making and Remaking Horror in the 1970s and 2000s" author David Roche takes up the assumption shared by many fans and scholars that original horror movies are more "disturbing," and thus better than the remakes. He assesses the qualities of movies, old and recast, according to criteria that include subtext, originality, and cohesion. With a methodology that combines a formalist and cultural studies approach, Roche sifts aspects of the American horror movie that have been widely addressed (class, the patriarchal family, gender, and the opposition between terror and horror) and those that have been somewhat neglected (race, the Gothic, style, and verisimilitude). Containing seventy-eight black and white illustrations, the book is grounded in a close comparative analysis of the politics and aesthetics of four of the most significant independent American horror movies of the 1970s--"The Texas Chain Saw Massacre, The Hills Have Eyes, Dawn of the Dead, " and "Halloween"--and their twenty-first-century remakes.

To what extent can the politics of these films be described as "disturbing" insomuch as they promote subversive subtexts that undermine essentialist perspectives? Do the politics of the film lie on the surface or are they wedded to the film's aesthetics? Early in the book, Roche explores historical contexts, aspects of identity (race, ethnicity, and class), and the structuring role played by the motif of the American nuclear family. He then asks to what extent these films disrupt genre expectations and attempt to provoke emotions of dread, terror, and horror through their representations of the monstrous and the formal strategies employed? In this inquiry, he examines definitions of the genre and its metafictional nature. Roche ends with a meditation on the extent to which the technical limitations of the horror films of the 1970s actually contribute to this "disturbing" quality. Moving far beyond the genre itself, "Making and Remaking Horror" studies the redux as a form of adaptation and enables a more complete discussion of the evolution of horror in contemporary American cinema.

If Russell Banks (b. 1940) says he doesn't "think about his] reader at all when he's] writing," he clearly enjoys talking with his actual readers, whether they be students, writers or academics, delighting in the diversity of his audience and in the "greater democratization of commentary" provided by alternative media.

These conversations span a period of over thirty years, from 1976 with the publication of his first novel, "Family Life," and his first collection of short stories, to 2008 with "The Reserve." Most date from the late 1990s on, when the publication of Pulitzer-finalist "Cloudsplitter" in conjunction with the back-to-back release of film adaptations of his novels "The Sweet Hereafter" and "Affliction" suddenly put Banks in the spotlight as "Hollywood's Hottest New Property."

Banks has always believed that the writer plays "the role of the storyteller," fulfilling very basic and universal human needs: "to talk about the human condition, to tell us something about ourselves." Yet, for him, writing is not a one-way process. It is an exchange where the key is to tune in and listen--to the voices of the characters engaging the writer's imagination and to the voices of the readers sharing their own experiences of his books and of the world.

Quentin Tarantino's films beg to be considered metafiction: metacommentaries that engage with the history of cultural representations and exalt the aesthetic, ethical, and political potential of creation as re-re-creation and resignification. Covering all eight of Quentin Tarantino's films according to certain themes, David Roche combines cultural studies and neoformalist approaches to highlight how closely the films' poetics and politics are intertwined. Each in-depth chapter focuses on a salient feature, some which have drawn much attention (history, race, gender, violence), others less so (narrative structure, style, music, theatricality). Roche sets Tarantino's films firmly in the legacy of Howard Hawks, Jean-Luc Godard, Sergio Leone, and the New Hollywood, revising the image of a cool pop-culture purveyor that the American director cultivated at the beginning of his career. Roche emphasizes the breadth and depth of his films' engagement with culture, highbrow and lowbrow, screen and print, American, East Asian, and European.

Though intimacy has been a wide concern in the humanities, it has received little critical attention in film studies. I Feel Different Inside: Essays on Intimacy in English-Speaking Cinema thus proposes to investigate both the potential intimacy of cinema as a medium and the possibility of a cinema of intimacy where it is least expected. As a notion that relies on binaries such as inside and outside, surface and depth, public and private, and self and other, intimacy, because it implies sharing, is especially apt to call into question the borders between these binaries, and, accordingly, the border which separates mainstream cinema and independent, underground or auteur cinema. Following on Thomas Elsaesser's theoretical interrogation of the relationship between the intimacy of cinema and the cinema of intimacy, the essays, organized mainly according to chronology, explore intimacy in silent and classical Hollywood cinema, underground, documentary and animation films, and finally contemporary Hollywood, British, Canadian and Australian cinema, from a variety of approaches that are grounded in neo-formalism and narratology, phenomenology, psychoanalysis and cognitive psychology, cultural, gender, reception and film genre studies.

While Western films can be seen as a mode of American exceptionalism, they have also become a global genre. Around the world, Westerns exemplify colonial cinema, driven by the exploration of racial and gender hierarchies and the progress and violence shaped by imperialism. Transnationalism and Imperialism: Endurance of the Global Western Film traces the Western from the silent era to present day as the genre has circulated the world. Contributors examine the reception and production of American Westerns outside the US alongside the transnational aspects of American productions, and they consider the work of minority directors who use the genre to interrogate a visual history of oppression. By viewing Western films through a transnational lens and focusing on the reinterpretations, appropriations, and parallel developments of the genre outside the US, editors Hervé Mayer and David Roche contribute to a growing body of literature that debunks the pervasive correlation between the genre and American identity. Perfect for media studies and political science, Transnationalism and Imperialism reveals that Western films are more than cowboys; they are a critical intersection where issues of power and coloniality are negotiated.

While Western films can be seen as a mode of American exceptionalism, they have also become a global genre. Around the world, Westerns exemplify colonial cinema, driven by the exploration of racial and gender hierarchies and the progress and violence shaped by imperialism. Transnationalism and Imperialism: Endurance of the Global Western Film traces the Western from the silent era to present day as the genre has circulated the world. Contributors examine the reception and production of American Westerns outside the US alongside the transnational aspects of American productions, and they consider the work of minority directors who use the genre to interrogate a visual history of oppression. By viewing Western films through a transnational lens and focusing on the reinterpretations, appropriations, and parallel developments of the genre outside the US, editors Herve Mayer and David Roche contribute to a growing body of literature that debunks the pervasive correlation between the genre and American identity. Perfect for media studies and political science, Transnationalism and Imperialism reveals that Western films are more than cowboys; they are a critical intersection where issues of power and coloniality are negotiated.

Contributions by Jan Baetens, Alain Boillat, Philippe Bourdier, Laura Caraballo, Thomas Faye, Pierre Floquet, Jean-Paul Gabilliet, Christophe Gelly, Nicolas Labarre, Benoit Mitaine, David Roche, Isabelle Schmitt-Pitiot, Dick Tomasovic, and Shannon Wells-Lassagne Both comics studies and adaptation studies have grown separately over the past twenty years. Yet there are few in-depth studies of comic books and adaptations together. Available for the first time in English, this collection pores over the phenomenon of comic books and adaptation, sifting through comics as both sources and results of adaptation. Essays shed light on the many ways adaptation studies inform research on comic books and content adapted from them. Contributors concentrate on fidelity to the source materials, comparative analysis, forms of media, adaptation and myth, adaptation and intertextuality, as well as adaptation and ideology. After an introduction that assesses adaptation studies as a framework, the book examines comics adaptations of literary texts as more than just illustrations of their sources. Essayists then focus on adaptations of comics, often from a transmedia perspective. Case studies analyze both famous and lesser-known American, Belgian, French, Italian, and Spanish comics. Essays investigate specific works, such as Robert Louis Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde, the Castilian epic poem Poema de Mio Cid, Ray Bradbury's Martian Chronicles, French comics artist Jacques Tardi's adaptation 120, rue de la Gare, and Frank Miller's Sin City. In addition to Marvel Comics's blockbusters, topics include various uses of adaptation, comic book adaptations of literary texts, narrative deconstruction of performance and comic book art, and many more.

"That's so meta!" The emergence of the prefix-turned-adjective "meta" to describe media productions is, no doubt, symptomatic of an increasingly media-savvy audience; it has also drawn attention to the lack of scholarship on meta-phenomena in film and television studies. Meta in Film and Television Series aims to make up for this. Meta is defined as an intense form of reflexivity, that is characterized by its aboutness; meta-phenomena are not just an arsenal of devices but suppose an interpretive act and an active audience. Meta creates a framework with which to interrogate a work's relationship to its production, reception, medium, forms, and the world, and to explore its potentials and limitations. Meta supports the intuition latent in the popular usage that meta-phenomena are deeply entangled, while demonstrating that analysis stills requires such concepts to make sense of them.

Women Who Kill explores several lines of inquiry: the female murderer as a figure that destabilizes order; the tension between criminal and victim; the relationship between crime and expression (or the lack thereof); and the paradox whereby a crime can be both an act of destruction and a creative assertion of agency. In doing so, the contributors assess the influence of feminist, queer and gender studies on mainstream television and cinema, notably in the genres (film noir, horror, melodrama) that have received the most critical attention from this perspective. They also analyse the politics of representation by considering these works of fiction in their contexts and addressing some of the ambiguities raised by postfeminism. The book is structured in three parts: Neo-femmes Fatales; Action Babes and Monstrous Women. Films and series examined include White Men Are Cracking Up (1994); Hit & Miss (2012); Gone Girl (2014); Terminator (1984); The Walking Dead (2010 ); Mad Max: Fury Road (2015); Contagion (2011) and Ex Machina (2015) among others.

If Russell Banks (b. 1940) says he doesn't ""think about [his] reader at all when [he's] writing,"" he clearly enjoys talking with his actual readers, whether they be students, writers, or academics, delighting in the diversity of his audience and in the ""greater democratization of commentary"" provided by alternative media. These conversations span a period of over thirty years, from 1976 with the publication of his first novel, Family Life, and his first collection of short stories, to 2008 with The Reserve. Most date from the late 1990s on, when the publication of Pulitzer-finalist Cloudsplitter in conjunction with the back-to-back release of film adaptations of his novels The Sweet Hereafter and Affliction suddenly put Banks in the spotlight as ""Hollywood's Hottest New Property."" Banks has always believed that the writer plays ""the role of the storyteller,"" fulfilling very basic and universal human needs: ""to talk about the human condition, to tell us something about ourselves."" Yet, for him, writing is not a one-way process. It is an exchange where the key is to tune in and listen-to the voices of the characters engaging the writer's imagination and to the voices of the readers sharing their own experiences of his books and of the world.

It's normal for a daily run to become somewhat of a chore. Finding out how to get out of the rut can be a challenge. Luckily, The Happy Runner has the answers for you. Authors David and Megan Roche believe you can't reach your running potential without consistency and joyful daily adventures. These can lead to long-term health and happiness. Guided by their personal experiences and coaching expertise, they help you learn exactly how to become a happier runner and achieve your personal best. The text uses proven coaching methods to teach you how to run faster, run longer and stay healthy. There are also real stories from successful athletes who have had personal breakthroughs as they learn to love the process of running. You will also learn how to adapt your running based on personal lifestyle and goals. As well as how to avoid setbacks from injury. Whether you're battling burnout, returning after injury or simply just new to running and want to enjoy it, the science-based guidance in The Happy Runner helps you get faster, go longer and live stronger.

Women Who Kill explores several lines of inquiry: the female murderer as a figure that destabilizes order; the tension between criminal and victim; the relationship between crime and expression (or the lack thereof); and the paradox whereby a crime can be both an act of destruction and a creative assertion of agency. In doing so, the contributors assess the influence of feminist, queer and gender studies on mainstream television and cinema, notably in the genres (film noir, horror, melodrama) that have received the most critical attention from this perspective. They also analyse the politics of representation by considering these works of fiction in their contexts and addressing some of the ambiguities raised by postfeminism. The book is structured in three parts: Neo-femmes Fatales; Action Babes and Monstrous Women. Films and series examined include White Men Are Cracking Up (1994); Hit & Miss (2012); Gone Girl (2014); Terminator (1984); The Walking Dead (2010 ); Mad Max: Fury Road (2015); Contagion (2011) and Ex Machina (2015) among others.

This book is about what Mark Carney has called 'the social licence for financial markets' and how it can point us towards a more sustainable future. Author David Rouch argues that what it reveals contrasts sharply with the usual portrayals of markets as places of unrestrained financial self-interest. Drawing attention to a more complex reality and the presence of justice-focused aspirations in finance can positively impact individual, institutional, and systemic behaviour: change, not imposed by regulators, but emerging from the very substance of market relationships. The finance sector should have a key role in addressing humanity's increasingly pressing sustainability challenges. Yet the relationship between finance and society has not recovered from the 2008 crisis and the scandals and austerity that followed. The Covid-19 pandemic and its economic fallout is sharpening some of the issues and creating new ones. Recognising that financial markets operate subject to a social licence has the potential to galvanise market participants in tackling these challenges, strengthening social solidarity on which markets also depend, and to provide coordinates for navigating a way through the post-pandemic social, political and economic landscape.

Quentin Tarantino's films beg to be considered metafiction: metacommentaries that engage with the history of cultural representations and exalt the aesthetic, ethical, and political potential of creation as re-re-creation and resignification. Covering all eight of Quentin Tarantino's films according to certain themes, David Roche combines cultural studies and neoformalist approaches to highlight how closely the films' poetics and politics are intertwined. Each in-depth chapter focuses on a salient feature, some which have drawn much attention (history, race, gender, violence), others less so (narrative structure, style, music, theatricality). Roche sets Tarantino's films firmly in the legacy of Howard Hawks, Jean-Luc Godard, Sergio Leone, and the New Hollywood, revising the image of a cool pop-culture purveyor that the American director cultivated at the beginning of his career. Roche emphasizes the breadth and depth of his films' engagement with culture, highbrow and lowbrow, screen and print, American, East Asian, and European.

Democracy caused the debt crisis. Will it survive it? The question is whether new global leaders will stimulate the democratic model

The Church of 80% Sincerity shares the inspiring, poignant, wickedly funny, and sometimes heartbreaking story of motivational speaker David Roche's journey from shame to self-acceptance. Born with a severe facial deformity, David has had a life that's been anything but easy. Still, over time he's learned to accept his gifts as well as his flaws, and to see that, sometimes, they are one and the same. In this compelling book, he shares his hard-earned lessons, providing an irresistible and unforgettable glimpse of his (and everyone's) inner beauty and worth, and offers profound encouragement in dealing with whatever life brings.

We've had the credit crunch and afterwards a deep economic recession. Now get ready for a sovereign debt crisis after the biggest rise in government debt globally since world war two.

How new forms of financial liquidity are creating unsustainable asset price bubbles that eventually could burst with dire consequences for investors in stocks and bonds around the world.

Contributions by Jan Baetens, Alain Boillat, Philippe Bourdier, Laura Cecilia Caraballo, Thomas Faye, Pierre Floquet, Jean-Paul Gabilliet, Christophe Gelly, Nicolas Labarre, Benoit Mitaine, David Roche, Isabelle Schmitt-Pitiot, Dick Tomasovic, and Shannon Wells-LassagneBoth comics studies and adaptation studies have grown separately over the past twenty years. Yet there are few in-depth studies of comic books and adaptations together. Available for the first time in English, this collection pores over the phenomenon of comic books and adaptation, sifting through comics as both sources and results of adaptation. Essays shed light on the many ways adaptation studies inform research on comic books and content adapted from them. Contributors concentrate on fidelity to the source materials, comparative analysis, forms of media, adaptation and myth, adaptation and intertextuality, as well as adaptation and ideology. After an introduction that assesses adaptation studies as a framework, the book examines comics adaptations of literary texts as more than just illustrations of their sources. Essayists then focus on adaptations of comics, often from a transmedia perspective. Case studies analyze both famous and lesser-known American, Belgian, French, Italian, and Spanish comics. Essays investigate specific works, such as Robert Louis Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde, the Castilian epic poem Poema de Mio Cid, Ray Bradbury's Martian Chronicles, French comics artist Jacques Tardi's adaptation 120, rue de la Gare, and Frank Miller's Sin City. In addition to Marvel Comics' blockbusters, topics include various uses of adaptation, comic book adaptations of literary texts, narrative deconstruction of performance and comic book art, and many more.

In Making and Remaking Horror in the 1970s and 2000s author David Roche takes up the assumption shared by many fans and scholars that original horror movies are more ""disturbing,"" and thus better than the remakes. He assesses the qualities of movies, old and recast, according to criteria that include subtext, originality, and cohesion. With a methodology that combines a formalist and cultural studies approach, Roche sifts aspects of the American horror movie that have been widely addressed (class, the patriarchal family, gender, and the opposition between terror and horror) and those that have been somewhat neglected (race, the Gothic, style, and verisimilitude). Containing seventy-eight black and white illustrations, the book is grounded in a close comparative analysis of the politics and aesthetics of four of the most significant independent American horror movies of the 1970s--The Texas Chain Saw Massacre, The Hills Have Eyes, Dawn of the Dead, and Halloween--and their twenty-first-century remakes. To what extent can the politics of these films be described as ""disturbing"" insomuch as they promote subversive subtexts that undermine essentialist perspectives? Do the politics of the film lie on the surface or are they wedded to the film's aesthetics? Early in the book, Roche explores historical contexts, aspects of identity (race, ethnicity, and class), and the structuring role played by the motif of the American nuclear family. He then asks to what extent these films disrupt genre expectations and attempt to provoke emotions of dread, terror, and horror through their representations of the monstrous and the formal strategies employed? In this inquiry, he examines definitions of the genre and its metafictional nature. Roche ends with a meditation on the extent to which the technical limitations of the horror films of the 1970s actually contribute to this ""disturbing"" quality. Moving far beyond the genre itself, Making and Remaking Horror studies the redux as a form of adaptation and enables a more complete discussion of the evolution of horror in contemporary American cinema.