Using extreme music and film as points of departure, Post-Self digs deep into the darkest thoughts of the most dissatisfied minds, minds that want to leave their bodies behind. Everyone is looking for a way out. Throughout history, the physical body has often been seen as a prison, as something to be escaped by any means necessary: technology, mechanization, drugs and sensory deprivation, rapture, or even death. Taking in horror movies, heavy metal, philosophy, science fiction, and cybernetics, Post-Self is an exploration of the ways that human beings have sought to make this escape, to transcend the limits of the human body, to find a way out. As the physical world continues to collapse around us, and we are faced with a particularly 21st-century kind of dread and dehumanization,Post-Self asks what this escape from our bodies might look like, and what it might mean for the future of civilisation.

Family adventure based on the novel by Roald Dahl. The film centres around an eccentric chocolatier, Willy Wonka (Johnny Depp), and Charlie Bucket (Freddie Highmore), a good-hearted boy from a poor family who lives in the shadow of Wonka's extraordinary factory. Most nights in the Bucket home, dinner is a watered-down bowl of cabbage soup, which young Charlie gladly shares with his mother (Helena Bonham Carter) and father (Noah Taylor) and both pairs of grandparents. They all live in a tiny, tumbledown, drafty old house but it is filled with love. Every night, the last thing Charlie sees from his window is the great factory, and he drifts off to sleep dreaming about what might be inside. For nearly fifteen years, no one has seen a single worker going in or coming out of the factory, or caught a glimpse of Willy Wonka himself, yet, mysteriously, great quantities of chocolate are still being made and shipped to shops all over the world. One day Willy Wonka makes a momentous announcement. He will open his famous factory and reveal 'all of its secrets and magic' to five lucky children who find golden tickets hidden inside five randomly selected Wonka chocolate bars. When Charlie finds some money on the snowy street and takes it to the nearest store for a Wonka Whipple-Scrumptious Fudgemallow Delight he finds a golden ticket. The family decides that Grandpa Joe (David Kelly) should be the one to accompany Charlie on this once-in-a-lifetime adventure. Once inside, Charlie is dazzled by one amazing sight after another.

Two film versions of Roald Dahl's classic children's novel collected together in one set. In 'Willy Wonka and the Chocolate Factory' (1971), directed by Mel Stuart, young Charlie Bucket (Peter Ostrum) wins one of the coveted 'Golden Tickets' from a Wonka Bar that allows its holder to take a trip around the eccentric Willy Wonka's (Gene Wilder) Chocolate Factory. Charlie and the rest of the winners find themselves in a magical world of chocolate rivers, Oompa Loompas, everlasting gobstoppers, lickable wall-paper, golden egg-laying geese and chilling tales to warn children not to misbehave. Roald Dahl wrote the screenplay from his own book. In Tim Burton's expansive remake, 'Charlie and the Chocolate Factory' (2005), Freddie Highmore plays Charlie, whilst Johnny Depp takes on the role of Wonka.

In Dead Precedents, Roy Christopher traces the story of how hip-hop invented the twenty-first century. Emerging alongside cyberpunk in the 1980s, the hallmarks of hip-hop - allusion, self-reference, the use of new technologies, sampling, the cutting and splicing of language and sound - would come to define the culture of the new millennium.Taking in the groundbreaking work of DJs and MCs, alongside writers like Dick and Gibson, as well as graffiti and DIY culture, Dead Precedents is a counter-culture history of the twentieth century, showcasing hip-hop's role in the creation of the world we now live in.

Do negative campaigns win elections? Do voters abandon candidates accused of scandalous behaviour? Do government apologies affect prospects for re-election? While many people assume the answer to each of these questions is yes, there is limited empirical evidence to support these assumptions. In this book, Jason Roy and Christopher Alcantara use a series of experiments to test these and other commonly held beliefs. Each chapter draws upon contemporary events and literature to frame the issues and strategies. The findings suggest that not all of the assumptions that people have about the best strategies for winning and keeping political power hold up to empirical scrutiny. In fact, some work in ways that many readers may find surprising. Original and innovative in its use of experimental methods, Winning and Keeping Power in Canadian Politics is a persuasive analysis of some of our most prominent and long-standing political myths. It will be a "go to" resource for journalists, strategists, scholars, and general readers alike.

Do negative campaigns win elections? Do voters abandon candidates accused of scandalous behaviour? Do government apologies affect prospects for re-election? While many people assume the answer to each of these questions is yes, there is limited empirical evidence to support these assumptions. In this book, Jason Roy and Christopher Alcantara use a series of experiments to test these and other commonly held beliefs. Each chapter draws upon contemporary events and literature to frame the issues and strategies. The findings suggest that not all of the assumptions that people have about the best strategies for winning and keeping political power hold up to empirical scrutiny. In fact, some work in ways that many readers may find surprising. Original and innovative in its use of experimental methods, Winning and Keeping Power in Canadian Politics is a persuasive analysis of some of our most prominent and long-standing political myths. It will be a "go to" resource for journalists, strategists, scholars, and general readers alike.