Catalogue accompanying an exhibition at Beam Contemporary art gallery (Melbourne, Australia), curated by Simone Hine.

Read Phaedra Weldon's posts on the Penguin Blog. After losing her powers, Zoe Martinique learns that only a traumatic experience can bring the Wraith back. And now, to get out-of-body, Zoe will have to look for big, dangerous trouble--and fast.

In this groundbreaking work, author David Scott Diffrient explores largely understudied facets of cinematic horror, from the various odors permeating classic and contemporary films to the wetness, sliminess, and stickiness of these productions, which, he argues, practically scream out for a tactile mode of textural analysis as much as they call for more traditional forms of textual analysis. Dating back to Carol Clover’s and Linda Williams’s pioneering work on horror cinema, film scholars have long conceptualized this once-disreputable category of cultural production as a “body genre.” However, despite the growing recognition that horror serves important biological and social functions in our lives, scholars have only scratched the surface of this genre with regard to its affective, corporeal, and sensorial appeals. Diffrient anatomizes horror films in much the same way that a mad scientist might handle the body, separating and recombining constitutive parts into a new analytical whole. Further, he challenges the tendency of scholars to privilege human over nonhuman beings and calls into question ableist assumptions about the centrality to horror films of sight and sound to the near exclusion of other forms of sense experience. In addition to examining the role that animals—living or dead, real or fake—play in human-centered fictions, this volume asks what it means for audiences to consume motion pictures in which actors, stunt performers, and other creative personnel have put their own bodies and lives at risk for our amusement. Historically grounded and theoretically expansive, Body Genre: Anatomy of the Horror Film moves the study of cinematic horror into previously unchartered waters and breathes life into a subject that, not coincidentally, is intimately connected to breathing as our most cherished dividing line between life and death.

Marshall asks what it means for these authors to view the world through the frame of art.

James Paul Clifton is the man behind the mask of the superhero called the Green Phantasm. Clifton meets a young woman whose name is Amanda Taylor. Then, on a camping trip, he discovers the source of his superpowers. After James returns home, he has an accident that gives him his supernatural capabilities and tries them out. Shortly, Clifton puts together a Green Phantasm outfit and takes on his role as the Green Phantasm every evening. He then utilizes his inherited capabilities to protect the innocent citizens of Philadelphia from any criminals and/or troublemakers he comes across. The toughest of these is the evil organization called X-Termination. It is headed by Doctor XT, who is assisted by Zapper, Zinger, D.D.T., and twelve others. X-Termination soon makes two major attempts to X-terminate the Green Phantasm. The bad guys then venture through Philadelphia looking for Amanda. The Green Phantasm tries to find either Amanda or X-Termination. The next night, the search continues. The Phantasm soon picks up X-Termination's trail, but Amanda ends up getting captured. In the final showdown, James has until midnight to rescue Amanda from X-Termination Headquarters, where he has lots to overcome.

First published in 1989, this title explores the relationship between theater and power in the English Renaissance. Shakespeare’s Henry V, Richard II, and Macbeth are examined alongside a range of cultural materials, including philosophical and historical accounts of sovereignty, royal portraiture and representations of treason and punishment. Renaissance theater was far more than a vehicle for the expression of a political content: it played a constitutive role in forming the distinctive theory of sovereignty and the distinctive political subjectivity of the era. By reading Shakespeare’s plays in conjunction with other, ideologically charged forms of representation, the book continues new-historicist efforts to uncover the complex relations between literary texts and cultural contexts. Providing an interesting and detailed analysis, this reissue will be of value to students of Shakespeare and the English Renaissance, and those concerned with exploring the intersection between cultural analysis, post-structuralism, and psychoanalytic interpretation.

Originally published in 1980, this now classic work of literary theory explores the wilderness of positions that grew out of the collision between Anglo-American practical criticism and Continental philosophic criticism. This second edition includes a new preface by the author as well as a foreword by Hayden White. ?A key text for understanding ?the fate of reading' in the Anglophone world over the last fifty years.”?Hayden White, from the Foreword ?Criticism in the Wilderness may be the best, most brilliant, most broadly useful book yet written by an American about the sudden swerve from the safety of established decorum toward bravely theoretical, mainly European forms of literary criticism.”?Terrence Des Pres, Nation ?A polemical survey that reaffirms the value of the Continental tradition of philosophical literary criticism.”?Notable Books of the Year, New York Times Book Review

What is the subject of video? Charlotte Klink traces the development of electromagnetism in the pursuit of »Electric Seeing« that emerged in the 19th century as well as its curious relation to psychoanalysis and the contemporary discovery of the structure of the human psyche. In doing so, she exposes how this development laid the foundation of what we know today as »video«. This comprehensive theory of video entails a discussion of the technological, historical, and etymological roots, the media-theoretical concepts of medium and index, the philosophical and art-theoretical environment in which video emerged in the 1960s, the psychoanalytic concept of the phantasm, and artworks by artists such as Yael Bartana, Hito Steyerl, and Bjørn Melhus.

Jack's ex shows up out of the blue to ask for help with her dearly departed husband—who might not be so departed. Kiley—who didn't even know Jack had an ex, is determined to take the case from the rich widow, who is offering big bucks. A weekend in paradise seems like a fun break to Maya, except that both Johnny, the guy she's stuck on, and Joe, the guy she's pretending to be stuck on, are coming too. So the gang head to the private island mansion of the widow, where nothing is as it seems, and soon, they are cut off from civilization with no boat, no phone, and no help on the way, as a hurricane bears down on an island crawling with cultish killers who'll sacrifice anyone who tries to stop them from getting what they want. Immortality.