Folklore, People and Place is a contribution towards better understanding the complex interconnectivity of folklore, people and place, across a range of different cultural and geographical contexts. The book showcases a range of international case studies from different cultural and ecological contexts showing how folklore can and does mediate human relationships with people and place. Folklore has traditionally been connected to place, telling tales of the land and the real and imaginary beings that inhabit storied places. These storytelling traditions and practices have endured in a contemporary world, yet the role and value of folklore to people and places has changed. The book explores a broad range of international perspectives and considers how the relationship between folklore, people, and place has evolved for tourists and indigenous communities. It will showcase a range of international case studies from different cultural and ecological contexts showing how folklore can and does mediate human relationships with people and place. By exploring folklore in the context of tourism, this book engages in a critical discussion of the opportunities and challenges of using storied places in destination development. The case studies in the book provide an international perspective on the contemporary value of folklore to people and places engendering reflection on the role of folklore in sustainable tourism strategies. This book will be of interest to students, academics, researchers in fields such as anthropology, folklore, tourism, religious studies, human geography and related disciplines. It will also be of interest to scholars and practitioners of traditional ecological knowledge.

Exploring how technological apparatuses "capture" invisible worlds, this book looks at how spirits, UFOs, discarnate entities, spectral energies, atmospheric forces and particles are mattered into existence by human minds. Technological and scientific discourse has always been central to the nineteenth- and early twentieth-century spiritualist quest for legitimacy, but as this book shows, machines, people, and invisible beings are much more ontologically entangled in their definitions and constitution than we would expect. The book shows this entanglement through a series of contemporary case studies where the realm of the invisible arises through technological engagement, and where the paranormal intertwines with modern technology.

An exploration of contemporary trance and physical mediumship at a private spiritualist home-circle called the Bristol Spirit Lodge. Located in a garden on the outskirts of Bristol, the Lodge is a wooden shed specially constructed for the purposes of mediumship development and spirit communication. Through a combination of ethnographic observations in séances – including his own experiences of mediumship development – and interviews with spirits and their mediums, Hunter delves into a sub-urban world of trance states, ectoplasm, spirit lights and discarnate entities. Issues relating to altered states of consciousness, personhood, performance and the efficacy of ritual are examined in order to make sense of the processes by which spirits become manifest in social reality.   A large part of Manifesting Spirits is given over to a broader discussion of anthropology's evolving attitudes toward the 'paranormal' as a component of the 'life-worlds' of many people across the globe, and argues for the development of a non-reductive anthropological approach to the paranormal, and mediumship in particular. This emerging framework – referred to as 'ontological flooding' does not attempt to explain away the existence of spirits in terms of functional, cognitive or pathological theories (as most mainstream theorists tend to do), but rather embraces a processual perspective that emphasises complexity and multiple interconnected processes underlying spirit possession performances and experiences.

Muzan-e ('cruel pictures') and Chimidoro-e ('bloody pictures') together constitute a significant strand of Ukiyo-e, the populist art of late Edo-period Japan. This title collects and considers over 100 of the most blood-drenched and disturbing artworks produced by Yoshiiku and others.

The meteoric rise of Hammer Films as a force in world horror cinema resulted from the release of 1958's seminal film 'Dracula', starring Christopher Lee. Lee became the most famous incarnation of the vampire count ever, in a series of stylish films spanning 16 years. 'Eyes of Blood' is a complete visual tribute to Lee's magnetic and enduring portrayal of Dracula, featuring over 50 rare production photographs covering all seven of the classic horror movies, plus a section of stunning poster art with 20 full-colour images. Each film is reviewed in full, with details of cast and crew.

FREAK BABYLON is a sometimes startling, sometimes disturbing documentary of the history of one of mankind's most fascinating sciences - teratology - and its dubious cultural correlative, the Freakshow, from ancient times to the present day. The book features over 200 rare and intriguing photos of human anomalies and covers the areas of scientific research, sideshows, cinema and body modification. By tracing the history of teratology - the classification of human anomalies - and looking at some famous case histories such as the Elephant Man and Johnny Eck, FREAK BABYLON shows how medical research and exploitation are often interlinked - and poses the question whether new sciences of cloning and genetic engineering are taking us back to the "dark days" of man-made freaks. Bonus features include: "The Elephant Man" by Sir Frederick Treves. Long out-of-print, this is the true account which inspired David Lynch's film of the same name. "Dissection of a Symelian Monster" by R C Benington. A classic illustrated account of an autopsy on a real-life human anomaly, from 1891 medical journals. An in-depth illustrated review of the controversial 1932 horror film Freaks, directed by Tod Browning. Tod Robbins' classic short story "Spurs," which inspired Browning's Freaks.

FRACTURED EYE is new large-format annual film journal, edited by well-known authors Stephen Barber and Jack Hunter, who between them have produced around 50 books on global cinema and cultural history. FRACTURED EYE does not concern itself with either "mainstream" or "cult" cinema, but rather takes its cue from Amos Vogel's seminal 1974 study Film As A Subversive Art. Subjects covered by FRACTURED EYE Volume One include illegal film pornography in the 1970s, execution film documents of WW2, film documents of extreme performance art, subversive film documentaries, unfilmed surrealist film scenarios, revolutionary Japanese cinema of 1969, the origins of film projection technology, films of urban demolition, surgical films, and various works of renegade, politically prohibited or transgressive cinema. The book is heavily illustrated with unusual and often disquieting photographs, and is recommended for adult readers only. Subjects covered include Vienna Aktion Cinema, Tokyo 1969, Tatsumi Hijikata, Pierre Guyotat, Koji Wakamatsu, Cosey Fanni Tutti, Skladanowsky Brothers, Georges Franju, and much more.

One School One Planet Vol. 2 is a collection of articles and essays written over the course of the second and third years of the One School One Planet project in Llanfyllin, Powys. The project sought to develop a mainstream permaculture curriculum for schools, while also helping Llanfyllin to prepare as a community for the realities of climate change.

Facing up to the challenges of our changing climate goes much deeper than erecting a few wind turbines and switching to a Honda Prius - it challenges the very heart of our, social, cultural and economic models. The transition before us will require active involvement from everybody. What if we can find new ways of working that are actively beneficial - methods of building, farming and living that lock carbon away in plants and soils - while also meeting the needs of the 7 billion of us? If each person can have a net beneficial impact on planet and climate then maybe, at this moment when we are facing our greatest challenge, the many hands available to us will become a big part of the solution. The One School One Planet project has been working to bring some of these ideas into the mainstream school curriculum, and this small book is a record of our efforts at achieving this. www.llanfyllin.sector39.co.uk

It is from the paranormal's multifaceted nature that the title of this book takes its meaning. Throughout its pages we encounter, time and again, talk of a wide variety of dimensions, levels and layers, from social, cultural, psychological and physiological dimensions, to spiritual, mythic, narrative, symbolic and experiential dimensions, and onwards to other worlds, planes of existence and realms of consciousness. The paranormal is, by its very nature, multidimensional. "Once again, Jack Hunter takes us down the proverbial rabbit hole, here with the grace, nuance and sheer intelligence of a gifted team of essayists, each working in her or his own way toward new theories of history, consciousness, spirit, the imagination, the parapsychological, and the psychedelic. Another clear sign that there is high hope in high strangeness, and that we are entering a new era of thinking about religion, about mind, about us." -- Jeffrey J. Kripal, author of Authors of the Impossible: The Paranormal and the Sacred.

One of the most dominant strains of ukiyo-e - "pictures of the floating world" - in the early 19th century concerned itself with depictions of prostitutes and geisha, the denizens and queens of pleasure quarters such as the Yoshiwara in old Edo. A symbiosis between art and life helped form a new cult of the courtesan, an idealized icon whose skills in love-making were matched only by her sophistication, wit and elegance. In ukiyo-e, the exotic kimono of the courtesan became a canvas upon which artists like Kunisada could project their most outre, intricate and colour-saturated designs, dazzling bursts of flora, fauna and arcane symbolism. Known as bijin-ga ("beauty pictures"), this print genre flourished right up until the 1860s, when its popularity began to wane. EMPIRE OF THE SENSES contains an extensive selection of courtesan portraits and triptychs, by artists ranging from Choki and Eisho to Kunichika, Kunisada II and Kyosai, as well as many other prints of female beauty. It also has sections on genj-e (beauty triptychs inspired by the literary classic Genji monogatari) and onnagata (kabuki actors who specialised in female impersonation), and includes two complete sets of classic bijin-ga from the Meiji period: Yoshitoshi's Fuzoku Sanjuniso ("32 Aspects Of Beauty," 1888), and Kiyochika's Hana Moyo ("Flower Designs," 1896). EMPIRE OF THE SENSES features over 200 rare and exceptional Japanese woodblock prints of beautiful women. The artists featured in the book comprise many of the most outstanding ukiyo-e print-designers of the Edo and Meiji periods, each of whom used their immense artistic talent and imagination to brilliantly illuminate the enigmatic allure of Japanese femininity. Artists featured include: Eisho, Eishi, Choki, Utamaro, Eizan, Eisen, Shikimaro, Shunsen, Toyokuni I, Kunisada, Kuniyoshi, Yoshitoshi, Yoshiyuki, Kunichika, Sadahide, Shigenobu, Tominobu, Sadakage, Kunisada II, Sencho, Fusatane, Yoshitora, Yoshiiku, Toyoshige, Kyosai, Chikanobu, and Kiyochika.

Talking With the Spirits is a cross-cultural survey of contemporary spirit mediumship. The diverse contributions to this volume cover a wide-range of ethnographic contexts, from Spiritualist seances in the United Kingdom to self-mortification rituals in Singapore and Taiwan, from psychedelic spirit incorporation in the Amazonian rainforest, to psychic readings in online social spaces, and more. By taking a broad perspective the book highlights both the variety of culturally specific manifestations of spirit communication, and key cross-cultural features suggestive of underlying core-processes and experiences. Rather than attempting to reduce or dismiss such experiences, the authors featured in this collection take the experiences of their informants seriously and explore their effects at personal, social and cultural levels.

We are living in a complicated period in relation to our understanding of 'extraordinary' phenomena. Naive materialist approaches are more assertive than ever, in anthropology and in the world more generally. At the same time, the taboos against admitting to the reality of the paranormal are weakening. There is a growing body of writing which takes the paranormal and extraordinary seriously, while bringing to it the same academic standards that any other subject matter would require. This is a valuable and important development, and it helps open the way to new modes of understanding in the sciences and social sciences that will not reject scientific rationality, but expand that rationality so as to include more of the world of human experience. The articles in this Paranthropology reader provide important clues and suggestions, along with rigorous argument, to help us in exploring what is likely to be a major area of anthropological engagement in coming years. Dr.Geoffrey Samuel, Cardiff University.

The aim of this book is to provide an overview of the communications and teachings, received from a spirit called "Charlie". The entirety of the information contained herein was gathered during seances conducted at the Bristol Spirit Lodge, a centre for the development and promotion of physical mediumship.

Musha-e ('warrior pictures') constitute one of the major and most dynamic sub-genres of Ukiyo-e woodblock printing. From Hokusai to Kyosai, virtually all of Ukiyo-e's greatest artists created Musha-e, in particular Kuniyoshi and Yoshitoshi. 'The Savage Samurai' presents over 290 rare and exceptional Japanese warrior prints, presented in full-page format and full colour throughout. These pictures are collected in the same volume for the first time ever, forming a definitive introduction to Ukiyo-e's most visually arresting and exciting sub-genre.

The first Sino-Japanese War of 1894-1895 was Japan's first modern war, and their first military action overseas for over 300 years. One notable result of this conflict was a huge burst in popularity for senso-e ("war pictures"), a genre of ukiyo-e which first evolved as a mutation of musha-e ("warrior pictures") with the need in the 1870s to document the contemporary conflicts which had raged in Japan as a result of the Meiji Restoration, in particular the Seinan War of 1877. Dozens of artists, from the celebrated to the obscure, added to the mass of images which circulated as the Sino-Japanese War progressed (an estimated 3,000 prints were created in just 10 months). Most of the scenes depicted were based on news reports sent back from the front, with artists rushing to replicate events as quickly as possible. The triptych, with its almost cinematic visual scope, was the preferred format for depicting such scenes of turmoil and carnage. Whilst there is a huge range in quality between the prints made by various artists, the very best senso-e of the Sino-Japnese War remain amongst the finest in ukiyo-e, providing a bold, if brief, resurrection for an artform which was in danger of dying out due to the advent of new imaging technologies. MASSACRES IN MANCHURIA features over 200 rare and exceptional Japanese woodblock prints of war. The artists featured in the book include Kiyochika, Gekko, Toshihide, Toshikata, Nobukazu, Chikanobu, Ginko, and numerous others - a list of many of the most outstanding ukiyo-e artists of the late Meiji period, each of whom used their immense artistic talent and imagination to brilliantly illuminate contemporary conflict as it unfurled.

Scholars of religion have begun to explore horror and the monstrous, not only within the confines of the biblical text or the traditions of religion, but also as they proliferate into popular culture. This exploration emerges from what has long been present in horror: an engagement with the same questions that animate religious thought - questions about the nature of the divine, humanity's place in the universe, the distribution of justice, and what it means to live a good life, among many others. Such exploration often involves a theological conversation. Theology and Horror: Explorations of the Dark Religious Imagination pursues questions regarding non-physical realities, spaces where both divinity and horror dwell. Through an exploration of theology and horror, the contributors explore how questions of spirituality, divinity, and religious structures are raised, complicated, and even sometimes answered (at least partially) by works of horror.

Scholars of religion have begun to explore horror and the monstrous, not simply within the confines of the biblical text or the traditions of religion, but also as they proliferate into popular culture. This exploration emerges from what has long been present in horror: an engagement with the same questions that animate religious thought - questions about the nature of the divine, humanity's place in the universe, the distribution of justice, and what it means to live a good life, among many others. Such exploration often involves a theological conversation. This volume pursues questions regarding non-physical realities, spaces where both divinity and horror dwell. Through an exploration of theology and horror, the contributors explore how questions of spirituality, divinity, and religious structures are raised, complicated, and even sometimes answered (at least partially) by works of horror.