This book argues that Halloween need not be the first nor the most influential youth slasher film for it to hold a special place in the history of youth cinema. John Carpenter's 1978 horror hit was once considered the be-all, end-all of teen slasher cinema and was regarded as the first, the best, and the most influential American slasher film. Recent revisions in film history, however, have challenged Halloween's comfortable place in the canon of youth horror cinema. However, this book argues that the film, like no other, draws from the themes, imagery, and obsessions that fueled youth horror cinema since the 1950s-Gothic atmosphere, atomic dread, twisted psychology, and alienated teenage monsters-and ties them together in the deceptively simple story of a masked killer on Halloween night. Along the way, the film delivers a savage critique of social institutions and their failure to protect young people. Halloween also depicts a cadre of compelling and complicated youth characters: teenage babysitters watching over preadolescents as a killer, who is viciously avoiding the responsibilities of young adulthood, stalks them through the shadows. This book explores all these aspects of Halloween, including the franchise it spawned, providing an invaluable insight into this iconic film for students and researchers alike.

Despite years of research, debate and changes in mental health policy, there is still a lack of consensus as to what recovery from psychosis actually means, how it should be measured and how it may ultimately be achieved. In Recovering from a First Episode of Psychosis: An Integrated Approach to Early Intervention, it is argued that recovery from a first episode of psychosis (FEP) is comprised of three core elements: symptomatic, social and personal. Moreover, all three types of recovery need to be the target of early intervention for psychosis programmes (EIP) which provide evidence-based, integrated, bio-psychosocial interventions delivered in the context of a value base offering hope, empowerment and a youth-focused approach. Over the 12 chapters in the book, the authors, all experienced clinicians and researchers from multi-professional backgrounds, demonstrate that long-term recovery needs to replace short term remission as the key target of early psychosis services and that, to achieve this, we need a change in the way we deliver EIP: one that takes account of the different stages of psychosis and the 'bespoke' targeting of integrated medical, psychological and social treatments during the 'critical period'. Illustrated with a wealth of clinical examples, this book will be of great interest to clinical psychologists, psychiatrists, psychiatric nurses and other associated mental health professionals.

Despite years of research, debate and changes in mental health policy, there is still a lack of consensus as to what recovery from psychosis actually means, how it should be measured and how it may ultimately be achieved. In Recovering from a First Episode of Psychosis: An Integrated Approach to Early Intervention, it is argued that recovery from a first episode of psychosis (FEP) is comprised of three core elements: symptomatic, social and personal. Moreover, all three types of recovery need to be the target of early intervention for psychosis programmes (EIP) which provide evidence-based, integrated, bio-psychosocial interventions delivered in the context of a value base offering hope, empowerment and a youth-focused approach. Over the 12 chapters in the book, the authors, all experienced clinicians and researchers from multi-professional backgrounds, demonstrate that long-term recovery needs to replace short term remission as the key target of early psychosis services and that, to achieve this, we need a change in the way we deliver EIP: one that takes account of the different stages of psychosis and the 'bespoke' targeting of integrated medical, psychological and social treatments during the 'critical period'. Illustrated with a wealth of clinical examples, this book will be of great interest to clinical psychologists, psychiatrists, psychiatric nurses and other associated mental health professionals.

This book reveals the role of the DVD market in the growth of ultraviolent horror in the 2000s. This study reveals the history of how the emergence of the DVD market changed cultural and industrial attitudes about horror movies and film ratings. These changes made way for increasingly violent horror films, like those produced by the Splat Pack, a group of filmmakers who were heralded in the press as subversive outsiders. Taking a different tack, this study proposes that the films of the Splat Pack were products of, rather than reactions against, film industry policy. It blends study of the film industry with analysis of films such as the Saw and Hostel franchises.

This book argues that Halloween need not be the first nor the most influential youth slasher film for it to hold a special place in the history of youth cinema. John Carpenter's 1978 horror hit was once considered the be-all, end-all of teen slasher cinema and was regarded as the first, the best, and the most influential American slasher film. Recent revisions in film history, however, have challenged Halloween's comfortable place in the canon of youth horror cinema. However, this book argues that the film, like no other, draws from the themes, imagery, and obsessions that fueled youth horror cinema since the 1950s-Gothic atmosphere, atomic dread, twisted psychology, and alienated teenage monsters-and ties them together in the deceptively simple story of a masked killer on Halloween night. Along the way, the film delivers a savage critique of social institutions and their failure to protect young people. Halloween also depicts a cadre of compelling and complicated youth characters: teenage babysitters watching over preadolescents as a killer, who is viciously avoiding the responsibilities of young adulthood, stalks them through the shadows. This book explores all these aspects of Halloween, including the franchise it spawned, providing an invaluable insight into this iconic film for students and researchers alike.

Cinema is a mosaic of memorable food scenes. Detectives drink alone. Gangsters talk with their mouths full. Families around the world argue at dinner. Food documentaries challenge popular consumption-centred visions. In Appetites and Anxieties: Food, Film, and the Politics of Representation, authors Cynthia Baron, Diane Carson, and Mark Bernard use a foodways paradigm, drawn from the fields of folklore and cultural anthropology, to illuminate film's cultural and material politics. In looking at how films do and do not represent food procurement, preparation, presentation, consumption, clean-up, and disposal, the authors bring the pleasures, dangers, and implications of consumption to centre stage. In nine chapters, Baron, Carson, and Bernard consider food in fiction films and documentaries-from both American and international cinema. The first chapter examines film practice from the foodways perspective, supplying a foundation for the collection of case studies that follow. Chapter 2 takes a political economy approach as it examines the food industry and the film industry's policies that determine representations of food in film. In chapter 3, the authors explore food and food interactions as a means for creating community in Bagdad Cafe, while in chapter 4 they take a close look at 301/302, in which food is used to mount social critique. Chapter 5 focuses on cannibal films, showing how the foodways paradigm unlocks the implications of films that dramatise one of society's greatest food taboos. In chapter 6, the authors demonstrate ways that insights generated by the foodways lens can enrich genre and auteur studies. Chapter 7 considers documentaries about food and water resources, while chapter 8 examines food documentaries that slip through the cracks of film censorship by going into exhibition without an MPAA rating. Finally, in chapter 9, the authors study films from several national cinemas to explore the intersection of food, gender, and ethnicity. Four appendices provide insights from a food stylist, a selected filmography of fiction films and a filmography of documentaries that feature foodways components, and a list of selected works in food and cultural studies. Scholars of film studies and food studies will enjoy the thought-provoking analysis of Appetites and Anxieties.

A ragtag group of young artists, painters, photographers, musicians and writers all collide in an abandoned building downtown with the idea to cobble together their own art gallery out of what little they have available. This book tells the beautiful failures of that idea.

This book reveals the role of the DVD market in the growth of ultraviolent horror in the 2000s. This study reveals the history of how the emergence of the DVD market changed cultural and industrial attitudes about horror movies and film ratings. These changes made way for increasingly violent horror films, like those produced by the Splat Pack, a group of filmmakers who were heralded in the press as subversive outsiders. Taking a different tack, this study proposes that the films of the Splat Pack were products of, rather than reactions against, film industry policy. It blends study of the film industry with analysis of films such as the Saw and Hostel franchises. Features a timely combination of film industry studies with film genre studies; presents a re evaluation of the history of the horror film from an industry studies perspective; an exploration of the relationship between DVDs and film ratings; and interdisciplinary analysis of several recent significant horror films.