Thomas Hardy and the Folk Horror Tradition takes the uncanny and unsettling fiction of Thomas Hardy as fundamental in examining the lineage of ‘Hardyan Folk Horror’. Hardy’s novels and his short fiction often delve into a world of folklore and what was, for Hardy the recent past. Hardy’s Wessex plays out tensions between the rational and irrational, the pagan and the Christian, the past and the 'enlightened' future. Examining these tensions in Hardy's life and his work provides a foundation for exploring the themes that develop in the latter half of the 20th century and again in the 21st century into a definable genre, folk horror. This study analyses the subduing function of heritage drama via analysis of adaptations of Hardy's work to this financially lucrative film market. This is a market in which the inclusion of the weird and the eerie does not fit with the construction of a past and their function in creating a nostalgia of a safe and idyllic picture of England’s rural past. However, there are some lesser-known adaptations from the 1970s that sit alongside the unholy trinity of folk horror: the adaptation for television of the Wessex Tales. From a consideration of the epistemological fissure that characterize Hardy’s world, the book draws parallels between then and now and the manifestation of writing on conceptual borders. Through this comparative analysis, Thomas Hardy and the Folk Horror Tradition posits that we currently exist on a moment of fracture, when tradition sits as a seductive threat.

Venue Stories is an anthology of creative non-fiction that remembers, celebrates and reinvigorates our complex and plural relationship with small and independent music spaces. Written by musicians, promoters, fans and academics who have a shared passion for small music venues and musical cultures in all their splendid variety, this anthology features memoir, essays, life writing, historiography and autoethnography. Each chapter is united by a focus on the personal, the sensory and half-remembered. These are stories that cross disciplinary lines and blur distinctions between creativity, reportage and critical analysis. Venue Stories pays a visit to the toilet venues, back rooms and ad-hoc club nights that make up so much of our musical landscape. It spends time in small and local venues and asks what they mean in personal and cultural terms. Writers visit celebrated spots, long forgotten spaces and emergent venues. Whatever the lineage, they are independent, original and wonderfully weird. The stories are memories of seismic gigs and life-altering raves. They are mosaic remembrances and recollections; funny, heart-breaking, rage induced and sometimes a combination of all of these things. This is a collection of stories by and for fans, band members, merch sellers, pint pullers, journalists with a freebie, roadies with a backache and sound techs with an earache.

The Routledge Companion to Folk Horror offers a comprehensive guide to this popular genre. It explores its origins, canonical texts and thinkers, the crucial underlying themes of nostalgia and hauntology, as well as identifying new trends in the field. Divided into five parts, the first focuses on the history of Folk Horror from medieval texts to the present day. It considers the first wave of contemporary Folk Horror through the films of the ‘unholy trinity’, as well as discussing the influence of ancient Gods and early Folk Horror. Section two looks at the spaces, landscapes and cultural relics, which form a central focus for Folk Horror. In section three, the contributors examine the rich history of the use of folklore in children’s fiction. The next section discusses recent examples of Folk Horror-infused music and image. Chapters consider the relationship between different genres of music to Folk Horror (such as Folk Music, black metal, and new wave); sound and performance; comic books; and the dark web. Often regarded as British in origin, the final section analyses texts which break this link as the contributors reveal the larger realms of regionality, nationality, international and transnational Folk Horror. Featuring forty contributions, this authoritative collection brings together leading voices in the field. It is an invaluable resource for students and scholars interested in this vibrant genre and its enduring influence on literature, film, music and culture.

The Arena Concert: Music, Media and Mass Entertainment is the first sustained engagement with what might said to be - in its melding of concert and gathering, in its evolving relationship with digital and social media, in its delivery of event, experience, technology and star - the art form of the 21st century. This volume offers interviews with key designers, discussions of the practicalities of mounting arena concerts, mixing and performing live to a mass audience, recollections of the giants of late twentieth century music in performance, and critiques of latter-day pretenders to the throne. The authors track the evolution of the arena concert, consider design and architecture, celebrity and fashion, and turn to feminism, ethnographic research, and ideas of humour, liveness and authenticity, in order to explore and frame the arena concert. The arena concert becomes the "real time" centre of a global digital network, and the gig-goer pays not only for an immersion in (and, indeed, role in) its spectacular nature, but also for a close encounter with the performers, in this contained and exalted space. The spectacular nature of the arena concert raises challenges that have yet to be fully technologically overcome, and has given rise to a reinvention of what live music actually means. Love it or loathe it, the arena concert is a major presence in the cultural landscape of the 21st century. This volume finds out why.

The Music Documentary offers a wide-range of approaches, across key moments in the history of popular music, in order to define and interrogate this prominent genre of film-making. The writers in this volume argue persuasively that the music documentary must be considered as an essential cultural artefact in documenting stars and icons, and musicians and their times - particularly for those figures whose fame was achieved posthumously. In this collection of fifteen essays, the reader will find comprehensive discussions of the history of music documentaries, insights in their production and promotion, close studies of documentaries relating to favourite bands or performers, and approaches to questions of music documentary and form, from the celluloid to the digital age.

The Music Documentary offers a wide-range of approaches, across key moments in the history of popular music, in order to define and interrogate this prominent genre of film-making. The writers in this volume argue persuasively that the music documentary must be considered as an essential cultural artefact in documenting stars and icons, and musicians and their times - particularly for those figures whose fame was achieved posthumously. In this collection of fifteen essays, the reader will find comprehensive discussions of the history of music documentaries, insights in their production and promotion, close studies of documentaries relating to favourite bands or performers, and approaches to questions of music documentary and form, from the celluloid to the digital age.

Music, Memory and Memoir provides a unique look at the contemporary cultural phenomenon of the music memoir and, leading from this, the way that music is used to construct memory. Via analyses of memoirs that consider punk and pop, indie and dance, this text examines the nature of memory for musicians and the function of music in creating personal and cultural narratives. This book includes innovative and multidisciplinary approaches from a range of contributors consisting of academics, critics and musicians, evaluating this phenomenon from multiple academic and creative practices, and examines the contemporary music memoir in its cultural and literary contexts.

Venue Stories is an anthology of creative non-fiction that remembers, celebrates and reinvigorates our complex and plural relationship with small and independent music spaces. Written by musicians, promoters, fans and academics who have a shared passion for small music venues and musical cultures in all their splendid variety, this anthology features memoir, essays, life writing, historiography and autoethnography. Each chapter is united by a focus on the personal, the sensory and half-remembered. These are stories that cross disciplinary lines and blur distinctions between creativity, reportage and critical analysis. Venue Stories pays a visit to the toilet venues, back rooms and ad-hoc club nights that make up so much of our musical landscape. It spends time in small and local venues and asks what they mean in personal and cultural terms. Writers visit celebrated spots, long forgotten spaces and emergent venues. Whatever the lineage, they are independent, original and wonderfully weird. The stories are memories of seismic gigs and life-altering raves. They are mosaic remembrances and recollections; funny, heart-breaking, rage induced and sometimes a combination of all of these things. This is a collection of stories by and for fans, band members, merch sellers, pint pullers, journalists with a freebie, roadies with a backache and sound techs with an earache.

An effective filmmaker needs to have a good understanding of how film language works, and more importantly, how to actively influence an audience's thoughts and feelings and guide their gaze around the screen. Packed with examples from classic and contemporary cinema, The Language of Film reveals the essential building blocks of film and explains how the screen communicates meaning to its audience. You will learn about fundamental theories and concepts, including film semiotics, narrative structures, ideology, and genre, as well as how elements such as shot size, camera movement, editing technique, and color come together to create the cinematic image. With insightful case studies and discussion questions, dozens of practical tips and exercises, and a new chapter on film sound, this new edition of The Language of Film is a must-have guide for aspiring filmmakers.

Develop the critical and creative skills to 'translate' a story from page to screen with this step-by-step guide to the process of screen adaptation you'll learn to: - interrogate a novel or short story to release its 'inner film' - convert fictional prose into visual drama - overcome the obstacles presented by different media 'languages' - approach key strategic decisions - both technical and interpretive - draft and re-draft your plot, characters and dialogue - professionally format and submit your finished script In addition to examples taken from 'literary classics', contemporary novels, genre fiction, short stories, and biographical material, Marland and Edgar embrace the wider phenomenon of re-telling and updating existing stories, such as the 'appropriation' of popular figures, inter-film adaptation (sequels and 'reboots'), and development into other visual forms including graphic fiction and video games. Whether you are producing a faithful adaptation of Tolstoy's War and Peace, or planning to pair up the crime-fighting duo of Sherlock Holmes and Batman, Adaptation for Screenwriters will be your guide.

"Washington is called the father of his country; the same may be said of Bol!var and Hidalgo; but I am only a bandit, according to the yardstick by which the strong and the weak are measured."--Augusto C. Sandino. For the first time in English, here are the impassioned words of the remarkable Nicaraguan hero and martyr Augusto C. Sandino, for whom the recent revolutionary regime was named. From 1927 until 1933 American Marines fought a bitter jungle war in Nicaragua, with Sandino as their guerrilla foe. This artisan and farmer turned soldier was an unexpectedly formidable military threat to one of the succession of regimes that the United States had imposed on that country beginning in 1909. He was also the creator of a deeply patriotic language of protest--eloquent, often naive, sometimes cruel, and always defiant. The documents in this volume, presented chronologically, constitute a spontaneous autobiography, a record not only of Sandino's adventurous life but also of a crucial and often overlooked aspect of the relationship between Nicaragua and the United States. Emblematic of the deep-rooted U.S. entanglement in Nicaraguan affairs is the fact that Anastasio Somoza, who assassinated Sandino in 1934, was the father of the Somoza overthrown by the Sandinistas in 1979. By 1933 Sandino's guerrilla army had at last forced the departure of the American Marines from Nicaragua, and in that same year he had negotiated a peace agreement with the new president, Juan Bautista Sacasa. Sacasa granted Sandino and a hundred followers a large tract of government land to establish an agricultural cooperative, and Sandino agreed to partial disarmament of of his men. But a year later he was seized near the presidential mansion by solders of Somoza's National Guard and assassinated with two of his generals. The National Guard then attacked and destroyed his cooperative. Both before and after Sandino's brutal assassination, Somoza tried to discredit the idiosyncratic blend of political, religious, and theosophical ideas through which Sandino inspired his soldiers. Included among the documents here are expressions not only of Sandino's military preoccupations and of his philosophy but also of his practical concerns about worker organization and legislation, the rights of women and children, the protection and development of Nicaragua's Indians, Central American unification, construction of a Nicaraguan canal for the benefit of Nicaraguans and the world in general, Indo-Hispanic cooperation, and land reform. This work, which is based on the two-volume Spanish edition compiled by Sergio Ramirez, includes an introduction by Robert Conrad setting Sandino's life in historical context. Originally published in 1990. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

"Washington is called the father of his country; the same may be said of Bol var and Hidalgo; but I am only a bandit, according to the yardstick by which the strong and the weak are measured."--Augusto C. Sandino.

For the first time in English, here are the impassioned words of the remarkable Nicaraguan hero and martyr Augusto C. Sandino, for whom the recent revolutionary regime was named. From 1927 until 1933 American Marines fought a bitter jungle war in Nicaragua, with Sandino as their guerrilla foe. This artisan and farmer turned soldier was an unexpectedly formidable military threat to one of the succession of regimes that the United States had imposed on that country beginning in 1909. He was also the creator of a deeply patriotic language of protest--eloquent, often naive, sometimes cruel, and always defiant. The documents in this volume, presented chronologically, constitute a spontaneous autobiography, a record not only of Sandino's adventurous life but also of a crucial and often overlooked aspect of the relationship between Nicaragua and the United States.

Emblematic of the deep-rooted U.S. entanglement in Nicaraguan affairs is the fact that Anastasio Somoza, who assassinated Sandino in 1934, was the father of the Somoza overthrown by the Sandinistas in 1979. By 1933 Sandino's guerrilla army had at last forced the departure of the American Marines from Nicaragua, and in that same year he had negotiated a peace agreement with the new president, Juan Bautista Sacasa. Sacasa granted Sandino and a hundred followers a large tract of government land to establish an agricultural cooperative, and Sandino agreed to partial disarmament of of his men. But a year later he was seized near the presidential mansion by solders of Somoza's National Guard and assassinated with two of his generals. The National Guard then attacked and destroyed his cooperative.

Both before and after Sandino's brutal assassination, Somoza tried to discredit the idiosyncratic blend of political, religious, and theosophical ideas through which Sandino inspired his soldiers. Included among the documents here are expressions not only of Sandino's military preoccupations and of his philosophy but also of his practical concerns about worker organization and legislation, the rights of women and children, the protection and development of Nicaragua's Indians, Central American unification, construction of a Nicaraguan canal for the benefit of Nicaraguans and the world in general, Indo-Hispanic cooperation, and land reform. This work, which is based on the two-volume Spanish edition compiled by Sergio Ramirez, includes an introduction by Robert Conrad setting Sandino's life in historical context.

Originally published in 1990.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

The Arena Concert: Music, Media and Mass Entertainment is the first sustained engagement with what might said to be - in its melding of concert and gathering, in its evolving relationship with digital and social media, in its delivery of event, experience, technology and star - the art form of the 21st century. This volume offers interviews with key designers, discussions of the practicalities of mounting arena concerts, mixing and performing live to a mass audience, recollections of the giants of late twentieth century music in performance, and critiques of latter-day pretenders to the throne. The authors track the evolution of the arena concert, consider design and architecture, celebrity and fashion, and turn to feminism, ethnographic research, and ideas of humour, liveness and authenticity, in order to explore and frame the arena concert. The arena concert becomes the "real time" centre of a global digital network, and the gig-goer pays not only for an immersion in (and, indeed, role in) its spectacular nature, but also for a close encounter with the performers, in this contained and exalted space. The spectacular nature of the arena concert raises challenges that have yet to be fully technologically overcome, and has given rise to a reinvention of what live music actually means. Love it or loathe it, the arena concert is a major presence in the cultural landscape of the 21st century. This volume finds out why.