Representations of apocalyptic themes and motifs in popular culture has a long history, and a number of books and edited collections have examined their influence on popular film and music. Small Screen Revelations shifts the attention to popular television, examining the ways in which contemporary television drama and news draw on both the language and imagery of apocalyptic texts. Essays in the collection examine topics such as the representation of apocalyptic prophecies and prophets in television news and documentaries; how news of natural disasters draws on apocalyptic language to frame the events, and how drama series use, develop and sometimes seek to subvert apocalyptic motifs. Thus, Small Screen Revelations offers a repositioning of the importance of television in representing the apocalypse, while providing a pertinent addition to the examination of how and for what purpose the apocalypse is used in popular culture.

This book brings together nine original chapters to examine genre agency in East Asian cinema within the transnational context. It addresses several urgent and pertinent issues such as the distribution and exhibition practices of East Asian genre films, intra-regional creative flow of screen culture, and genre's creative response to censorship. The volume expands the scholarly discussion of the rich heritage and fast-changing landscape of filmmaking in East Asian cinemas. Confronting the complex interaction between genres, filmic narrative and aesthetics, film history and politics, and cross-cultural translation, this book not only reevaluates genre's role in film production, distribution, and consumption, but also tackles several under-explored areas in film studies and transnational cinema, such as the history of East Asian commercial cinema, the East Asian film industry, and cross-media and cross-market film dissemination.

Since the 1990s, the screening of sex on American, British and Asian television screens has become increasingly prolific. Considering not only the specificities of selected sexualised images in relation to popular series, this study also concerns itself with the ramifications of TV sex as well as discussing the various techniques that are used by TV producers/programme makers to establish the cultural worth of their texts in series such as "Shameless, The Tudors" and "True Blood."

The contributions draw attention to shifting representations of sex on television away from the authoritarian state and patriarchal order, toward a more democratic form of representation. As a significant and under-represented aspect of contemporary television studies, this is the first full-length academic collection to consider the wide-ranging representations of sex in society on contemporary television.

Hardcore Horror Cinema in the 21st Century represents the first scholarly book of its kind. It addresses the exemplars of hardcore horror which are Fred Vogel's August Underground trilogy, Shane Ryan's Amateur Porn Star Killer series and Lucifer Valentine's `vomit gore' films. The book begins by supplying a much needed definition and critical overview of the films before moving on to examine the key aesthetic convention of hardcore horror which is the pursuit of realist horror. Further chapters will address the production practices through to the exhibition and marketing strategies of hardcore horror via an in-depth interview with filmmaker Shane Ryan and will conclude with an account of audience reception with particular focus on fan interaction via the Internet. The purpose of Hardcore Horror Cinema in the 21st Century is to re-examine this outcast strand of North American horror film to open up a wider cultural and critical platform for discussion of contemporary horror cinema. Hardcore horror is a marginalized adjunct to mainstream and commercial horror but provides an important and transformative, if disturbing and dangerous, addition if appreciation and understanding of the contemporary North American horror film is to be fully realized.

This is the first edited collection addressing the Saw franchise, which to date is the highest grossing horror series of all time. The films are often derided by critics as ""torture porn,"" and as just an excuse to show blood and gore. This collection of fresh essays by academic authors from Europe, America and Australia addresses the cultural, religious and philosophical themes that run through the films, covering such themes as how the franchise reflects a post-9/11 shift in US popular culture towards increasing pessimism and how it may be read as a metaphor for the subsequent ""war on terror""; how the series explores such issues as freewill and determinism; representations of the body; and a Deleuzian perspective to the franchise.

"The flame crackled as it burst through the thick steel and immediately started to trace a slow glowing path.." So begins the fast-paced sci-fi thriller that is Agencies. The discovery of a hidden chamber on the Moon starts a chain of explosive conflicts between the now-privatised security agencies on Earth several hundred years from now. Carth, on an unknown mission, must carefully thread his way through the escalating hostilities between the two most prominent Agencies.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ The Magnetic Properties Of Electrolytic Iron And Iron Alloys James Aston University of Wisconsin--Madison, 1909

Since the 1990s, the screening of sex on American, British and Asian television screens has become increasingly prolific. Considering not only the specificities of selected sexualised images in relation to popular series, this study also concerns itself with the ramifications of TV sex as well as discussing the various techniques that are used by TV producers/programme makers to establish the cultural worth of their texts in series such as "Shameless, The Tudors" and "True Blood."

The contributions draw attention to shifting representations of sex on television away from the authoritarian state and patriarchal order, toward a more democratic form of representation. As a significant and under-represented aspect of contemporary television studies, this is the first full-length academic collection to consider the wide-ranging representations of sex in society on contemporary television.

What is confidence? If you've never had it - how can you know what it is? If you've always had it, then how do you know its value? Harry is a software salesman. He's good at what he does, and he knows it. Life for him is one opportunity after another. Mary is training to be a nurse at a local hospital. She has a close-knit circle of friends that she can rely on. But an unsettling wind of change is starting to blow through her life. A chance encounter acts as the catalyst that makes both of them start to question their place in the world.