This book explores horror film franchising from a broad range of interdisciplinary perspectives and considers the horror film's role in the history of franchising and serial fiction Argues against existing scholarship which prioritises the figure of the 'cult' auteur or targets individual films as 'reflections' of socio-political forces and factors Redresses critical neglect towards horror film franchising by discussing the forces and factors governing its development across historical and contemporary terrain while also examining text and reception practices Offers an introduction to the history of horror franchising, the chapters also examine key texts including Universal Studio monster films, Blumhouse production films, The Texas Chainsaw Massacre, A Nightmare on Elm Street, Alien, I Spit on Your Grave, Let the Right One In, Italian zombie films, anthology films, and virtual reality A significant contribution to studies of horror cinema and film/media franchising from the 1930s to present day It will be of interest to students and scholars of film studies, media and cultural studies, franchise studies, political economy, audience/reception studies, horror studies, fan studies, genre studies, production cultures, and film histories

The history of the 'video nasties' has been recounted many times and the films that caused so much offence have themselves been endlessly examined. However, the industry that gave rise to the category has received scant little attention. Earlier histories have tended to foreground issues of censorship, and as such, offer only glimpses of an under explored industrial history of British video. This book focuses explicitly on an industry that is still portrayed in heavily caricatured terms, that is frequently presented as immoral or corrupt, and that continues to be understood through the rhetoric of the tabloid press, as 'merchants of menace'.

The history of the 'video nasties' has been recounted many times and the films that caused so much offence have themselves been endlessly examined. However, the industry that gave rise to the category has received scant little attention. Earlier histories have tended to foreground issues of censorship, and as such, offer only glimpses of an under explored industrial history of British video. This book focuses explicitly on an industry that is still portrayed in heavily caricatured terms, that is frequently presented as immoral or corrupt, and that continues to be understood through the rhetoric of the tabloid press, as 'merchants of menace'.

The idea of an Australian republic has existed from the moment the First Fleet sailed into Sydney Harbour. This book is a comprehensive history of republican thought and activity in Australia and traces republican debate in Australia from 1788. It explains the pivotal role played by republican philosophies in the decades before responsible government was granted to the Australian colonies in 1856 and prior to federation in 1901. Mark McKenna also describes the often erratic appearance of republicanism during the twentieth century, focusing in particular on the period after 1975, when the issue of a republic became a prominent and increasingly fixed term on the political agenda. This book will be essential reading for all those with an interest in political and intellectual history. It calls for a higher level of public debate about the republic and makes an outstanding contribution to this debate itself.

Snuff (1976) occupies a unique place in cinematic history, as the first commercially successful film to capitalise upon the myth of the 'snuff' movie. By blending cinema verite styling with a media moral panic, savvy producer Allan Shackleton's blending of a long-forgotten exploitation film with a newly filmed bloody, if unconvincing conclusion, only served to consolidate the belief that somewhere, at some time, someone was killed on camera in an attack that was as much about the sexual gratification of the film's intended audience, as it was about the commercial rewards for those producing the film. In the years since its release, the film has been routinely cited as 'evidence' of the snuff movie's existence, contributing to a cultural history that exists outside of the film. This book explores the production, distribution and exhibition of the film Snuff, alongside that cultural history, considering how a scarcely seen exploitation film contributed to a popular understanding of the snuff movie. It assesses the cultural, cinematic and political legacy of the film and asks whether the established definition of what might constitute a snuff movie, that was defined 45 years ago, is sufficient in an attention economy that is based upon participatory culture.

Snuff (1976) occupies a unique place in cinematic history, as the first commercially successful film to capitalise upon the myth of the 'snuff' movie. By blending cinema verite styling with a media moral panic, savvy producer Allan Shackleton's blending of a long-forgotten exploitation film with a newly filmed bloody, if unconvincing conclusion, only served to consolidate the belief that somewhere, at some time, someone was killed on camera in an attack that was as much about the sexual gratification of the film's intended audience, as it was about the commercial rewards for those producing the film. In the years since its release, the film has been routinely cited as 'evidence' of the snuff movie's existence, contributing to a cultural history that exists outside of the film. This book explores the production, distribution and exhibition of the film Snuff, alongside that cultural history, considering how a scarcely seen exploitation film contributed to a popular understanding of the snuff movie. It assesses the cultural, cinematic and political legacy of the film and asks whether the established definition of what might constitute a snuff movie, that was defined 45 years ago, is sufficient in an attention economy that is based upon participatory culture.

In this inspiring essay, Mark McKenna considers the role of history in making and unmaking the nation. From Captain Cook to the frontier wars, from Australia Day to the Uluru Statement, we are seeing passionate debates and fresh recognitions. McKenna argues that it is time to move beyond the history wars, and that truth-telling about the past will be liberating and healing. This is a superb account of a nation's moment of truth. "The time for pitting white against black, shame against pride, and one people's history against another's, has had its day. After nearly fifty years of deeply divisive debates over the country's foundation and its legacy for Indigenous Australians, Australia stands at a crossroads - we either make the commonwealth stronger and more complete through an honest reckoning with the past, or we unmake the nation by clinging to triumphant narratives in which the violence inherent in the nation's foundation is trivialised." Mark McKenna, Moment of Truth

It's time for some straight talk about Australia's future.

We need a head of state who shares a genuine affinity with our country. True independence does not require us to relinquish affection for the Queen or downplay excitement about a royal birth or wedding. Rather it is a chance for national renewal, and to lend an Australian dignity to the highest office in the land. In short: to decide what kind of country we want to live in.

Featuring forewords by Malcolm Turnbull and Wayne Swan, Project Republic unites a range of passionate Australian voices to show why Australia must become a republic - and how we can get there from here.

Contributors include Henry Reynolds, Thomas Keneally, Larissa Behrendt, John Hirst, Julian Morrow, Helen Irving, Mark Tredinnick, John Warhurst, David Morris, George Williams, Joy McCann, Erika Smith, Anthony Dillon, Paul Pickering, James Curran, David Donovan and George Winterton.

About the editors:

Mark McKenna is one of Australia's leading historians and the author of several prize-winning books, most recently a biography of Manning Clark, An Eye for Eternity, which won the Prime Minister's Award for Non-Fiction and the Victorian, NSW, Queensland and South Australian premiers' non-fiction awards.

Benjamin Thomas Jones has taught Australian and British history at the Australian National University and the University of Sydney. He has published several articles on Australia's republican history and is currently writing a book on republicanism in the former British colonies.

For over twelve years, Ancient Paths has sought to publish quality literature on subtle Christian themes. This installment features the work of three promising poets (Nicholas Samaras, Paul David Adkins, and Carol A. Oberg) and two arresting authors (Mark McKenna and Edoardo Albert). Join in this sometimes sweet, sometimes sad, but always surprising journey of faith.

Brave and controversial, this account argues that Australians' collective obsession with the Australian and New Zealand Army Corps (ANZAC) has distorted their perception of national history. Delving into the history of ANZAC and the mythologies surrounding it, this detailed record explores topics such as the formation of Australia's national holiday--ANZAC Day--and the way in which the spirit of ANZAC is taught in the nation's classrooms. Ultimately, this informative narrative claims that ANZAC has become a conservative political force in Australia and questions whether ANZAC'S renowned foreign battles were worth all of the bloodshed. Daring, intelligent, and thought-provoking, this is a must-read for those interested in Australian or military history.