Steven Gerrard – författare

Steven Gerrard is a hero to millions, not only as the inspirational captain of Liverpool FC, but as a key member of the England team. Here, for the first time, he tells the story of his lifelong obsession with football, in an honest and revealing book which captures the extraordinary camaraderie, the soul-destroying tensions and the high-octane thrills of the modern game as never before.Born in the Liverpool suburb of Huyton in 1980, Steven first joined Liverpool as a YTS trainee and played his first game for the first team aged just 18. His career has gone from strength to strength ever since and he is now the team's captain and its lynchpin. Liverpool's incredible comeback in the Champions' League final in Istanbul in May 2005, recovering from a 3-goal deficit against AC Milan to win on penalties, is testament to the amazing power Gerrard has over his team. His presence on the pitch is a force to be reckoned with and places him amongst the very first rank of players in the world.A relatively private figure, Steven has rarely spoken out in public. Now, his legions of fans will be allowed an intimate glimpse of what makes their hero tick. He speaks for the first time about the torturous will-he-won't-he Chelsea rumours and his undying passion for Liverpool. We experience first-hand the highs of winning in Istanbul and elsewhere, as well as the occasional lows of being parted from his much-loved family and friends. And of course, the book contains a full blow-by-blow account of England's world cup campaign in Germany 2006.Steven Gerrard's book is the definitive football autobiography. Like its subject, it's honest, passionate and exhilarating. If Steven Gerrard isn't your hero yet, by the time you've read this he will be...

When you think of British horror films, you might picture the classic Hammer Horror movies, with Christopher Lee, Peter Cushing, and blood in lurid technicolor. Yet British horror has undergone an astonishing change and resurgence in the twenty-first century, with films that capture instead the anxieties of post-Millennial viewers. Tracking the revitalization of the British horror film industry over the past two decades, media expert Steven Gerrard also investigates why audiences have flocked to these movies. To answer that question, he focuses on three major trends: "hoodie horror" movies responding to fears about Britain's urban youth culture; "great outdoors" films where Britain's forests, caves, and coasts comprise a terrifying psychogeography; and psychological horror movies in which the monster already lurks within us. Offering in-depth analysis of numerous films, including The Descent, Outpost, and The Woman in Black, this book takes readers on a lively tour of the genre's highlights, while provocatively exploring how these films reflect viewers' gravest fears about the state of the nation. Whether you are a horror buff, an Anglophile, or an Anglophobe, The Modern British Horror Film is sure to be a thrilling read.

When you think of British horror films, you might picture the classic Hammer Horror movies, with Christopher Lee, Peter Cushing, and blood in lurid technicolor. Yet British horror has undergone an astonishing change and resurgence in the twenty-first century, with films that capture instead the anxieties of post-Millennial viewers. Tracking the revitalization of the British horror film industry over the past two decades, media expert Steven Gerrard also investigates why audiences have flocked to these movies. To answer that question, he focuses on three major trends: "hoodie horror" movies responding to fears about Britain's urban youth culture; "great outdoors" films where Britain's forests, caves, and coasts comprise a terrifying psychogeography; and psychological horror movies in which the monster already lurks within us. Offering in-depth analysis of numerous films, including The Descent, Outpost, and The Woman in Black, this book takes readers on a lively tour of the genre's highlights, while provocatively exploring how these films reflect viewers' gravest fears about the state of the nation. Whether you are a horror buff, an Anglophile, or an Anglophobe, The Modern British Horror Film is sure to be a thrilling read.

Saucy, rude and vulgar—the 31 Carry On films remain an important part of the history of British cinematic and low brow comedy. The Carry On Films is an essential read for Carry On fans the country through.

Get ready for the Euros by journeying through the iconic and searingly honest story of one of the country's best ever footballers'A truly world class career . . . This is a must read' 5***** READER REVIEW'An astonishing tale of commitment, loyalty and determination' 5***** READER REVIEW'A heart on sleeve account of success and failure' 5***** READER REVIEW________Steven Gerrard is a phenomenon. He has played over 700 games for his beloved Liverpool and is the third most capped player in English football. He is one of the greatest sportsman of his generation.In My Story Gerrard speaks fully and frankly about his extraordinary playing career, opening up about the key matches and moments to give us the view from on the pitch. His exhilarating accounts of winning and losing while staying loyal to one club through good and bad tell us about his commitment both to the game and to Liverpool. It's a story of a deeply personal relationship between one man, his club and the fans. And it is a story that is far from over.Explosive and searingly honest, Steven Gerrard's My Story is the last word from an era-defining player.

Jason Statham has risen from street seller through championship diving and modelling to become arguably the biggest British male film star of the twenty-first century. This is the first book to offer a critical analysis of his work across a variety of media, including film, television, video games and music videos. Each chapter focuses on a particular aspect of Statham’s career, from his distinctive screen presence to his style, branding and celebrity. Accessibly written, and featuring a contribution from Hollywood director Paul Feig, who worked with Statham on the 2015 action-comedy Spy, the collection will appeal to a wide audience of scholars, students and fans.

The successful return of horror to our television screens in the post-millennial years, and across a multi-media range of platforms, demonstrates that this previously moribund genre is once again vibrant, challenging and long-lasting. The traditional TV audience of the past would have watched very few horror TV shows, because not many were made. But that has changed. Programme makers have tapped into their public's insatiable need - in these days of terrorism, violence and mayhem - to provide programmes that have high production values, engaging storylines, and plenty of frights and gore.  Horror TV offers a safety-valve for its audience, one that enables them to enter into it from the safety of their armchairs. The era of instant access, streaming, downloading and binge-watching whole seasons over a weekend, where fandom has blossomed into a cultural force, clearly shows horror as a vital part of today's TV scheduling.This edited collection investigates the rising popularity of horror-television through deconstructing the gender roles within them via series of case studies including such programmes as Hannibal, American Horror Story, The Walking Dead, Penny Dreadful, Supernatural, The Exorcist and Bates Motel. By using a series of case studies and employing theoretical modes of close analysis, each chapter demonstrates how and why these TV shows are important in reflecting the changing gender roles within modern society.

Contemporary popular media has been marked by its startling ability to morph into a wide variety of formats, fed by the ongoing revolution in digital technology. Despite these significant changes, the horror genre has retained its attraction for audiences, and the representation of gender has been crucial to that appeal.Gender and Contemporary Horror in Comic, Games and Transmedia examines the impact of media convergence on the horror genre, focusing on comic books and graphic novels, video games, audio broadcasts, and transmedia adaptations, as well as considering the increasingly proactive role of audiences in making media themselves. A wide range of scholars consider the effect of this new hybridity on established debates regarding the role of gender in the horror genre, offering vital new interpretations of identity and representation.;This book is an illuminating, exciting read for academics and students interested in the effect of changing media, and an evolving cultural landscape, on the established debates surrounding gender in the horror genre. The responses of the authors reflect both the possible limitations and the groundbreaking possibilities of this new era in horror.

The horror genre will always remain current because it reflects our anxieties, shining a light onto our worst fears whilst creating worlds defined by darkness. Horror as a genre has always engaged with era-specific societal mores and moral panics, often about isolation or abandonment, changing family values and the role of women. It is often specifically about how gender is constructed in everyday life. Women are commonly defined in horror by their passivity, or monstrosity/sexuality or victimhood - or a mix of the three. At the same time women in horror are forced into psychological and physical torture ending in violent showdowns in which they emerge damaged but triumphant. Bringing together research from a wide range of established and emerging scholars this edited collection provides an insight into how modern horror films portray femininities, sexualities, masculinities, ageing, and other current issues, exploring the use of vampires, zombies, werewolves and ghosts in films made internationally. This volume, one of three by the same editorial team examining the horror genre, focuses on gender and contemporary horror in film, asking questions about how and if representations of gender in horror have changed. In these readings and re-readings, the authors examine developments in films about vampires, zombies, werewolves and ghosts, in films made internationally.

Sylvester Stallone’s action thriller, First Blood, hit cinema screens in 1982, leading to the cementing of what can be called the Action Movie Canon. With films like Die Hard, Under Siege and Total Recall pioneering post-millennial Action Movies such as Tomb Raider, The Bourne Identity and Atomic Blonde, there is a clear trajectorial line showing that the Action Movie has radically altered to incorporate much more complex portrayals of both ‘hero’ and ‘heroine’: the Action Movie Hero.Examining the changing face of Action Movies and their representations of gender since the release of First Blood, Gender and Action Films 1980-2000 examines masculinity and anxiety through subjects ranging from gender spaces in action films to the buddy cop film. From transformative femininity, motherhood and machoism, action women in contemporary Colombian cinema, reconsidering gender in Jurassic Park, to gender, politics and 80s action – the chapters dive into everything from sword-playing and gun-shooting women and rainbow-coloured riots on Hollywood boulevard.Gender and Action Films 1980-2000 offers a comprehensive insight into the intertwined concepts of gender and action, and how their portrayal developed in the Action Movie genre during the final two decades of the twentieth century. A necessity for academics, students and lovers of film and media and those interested in gender studies.

The noughties witnessed rapid change in Action Cinema, carrying with it the new action stars of the previous decade, and the boundary blurring experimentation of films such as The Matrix, that incorporated not only action but science fiction. The now dominant Marvel Cinematic Universe (MCU) debuted, and the Young Adult fictional worlds of Harry Potter and The Hunger Games further developed the scope of the action sequences. Despite this context, the action genre had still not engaged fully with contemporary social issues.Focusing on a less acknowledged period in Action Cinema history, Gender and Action Films: Road Warriors, Bombshells and Atomic Blondes examines specific action stars such as Michelle Rodriguez, Zhang Ziyi, and Pam Grier to analyse how female stars encounter the male gaze. Split into four parts – ‘Star Bodies’, ‘Transmedia Action’, ‘Intergenerational Action’ and ‘Politics and Race’, chapter authors prioritise female led action movies and champion a more meaningful interaction and representation between the action genre and contemporary issues of race, sexuality, and gender.Offering novel interpretations of depictions of gender within action movies, this edited collection demonstrates gender portrayal can be developed to incorporate meaningful representation in the wake of the movements such as #Oscarssowhite or #MeToo that have confronted Hollywood. The collection is a must-have for academics, students and lovers of film and media and those interested in gender studies.

Lying at the heart of the modern Action Cinema Canon is the concept of transformation. As the action genre evolves and shifts into the new millennia, innovative additions blend with nostalgic returns – the move away from a male-dominated space to feature even more prominent female roles co-exists alongside a revival of Arnold Schwarzenegger and Linda Hamilton, and series such as Rocky and Rambo return to the screens. Gender and Action Films 2000 and Beyond: Transformations captures and explores the nuanced and complex nature of change within Action Cinema.Dealing with the notion of aging, the chapter authors consider how action heroes confront and cope with getting older. Expanding the foundation of research on geriaction stars, the advantages of mature masculinity contrasts with themes of masculine fragility. Viewing the action genre through a feminist lens, this edited collection traces the evolution of the representation of women, suggesting how such roles may develop in the future. Finally, a consideration of the post-millennial boom of movie backdrops in turmoil analyses how such pieces question and contribute to debates on global political and social issues.Gender and Action Films 2000 and Beyond: Transformations looks at Action Cinema from the old to the new, offering an exciting interrogation of the portrayal of gender in the new millennia. A necessity for academics, students and lovers of film and media and those interested in gender studies.

The world of James Bond is complex and ever growing. The British secret agent started off life as a semi-fictional, part-biographical character in Ian Fleming's 1953 novel, Casino Royale. Since then, 007 has captured the minds and hearts of a worldwide audience, and the franchise is now available over multiple media platforms, including movie, comic strips, games, graphic novels and fashion statements. This edited collection examines the role that gender has played across the platforms that the James Bond franchise now occupies. Each chapter investigates gender-approaches through a variety of case studies, including Bond, his boss M, and Miss Moneypenny, the songs and title sequences, the villains, computer games, 'Lad's Mags', and the fashions of the era. Looking beyond the Bond Girl, expert editor Steven Gerrard brings together a cast of contributors that investigate not only femininity, but also masculinity when it comes to the world's best-known agent - a man with a license to kill. In a rapidly changing world where gender boundaries are being eroded, this edited collection investigates the changing and challenging roles that gender has undergone in the franchise. By using a series of case studies, and employing theoretical modes linked to close analysis, each chapter clearly demonstrates how and why the world of James Bond is important in reflecting the changing gender roles within modern society.

This edited collection offers the first authoritative study of masculinity in the British situation comedy. The volume uses a distinctively intersectional approach combining a concern with the format of the television situation comedy (with its typical narrative conceits and characterisations, including stereotyping) combined with a focus on the specifics of male representation. This also allows for a consideration of other areas of identity representation such as class, sexuality, and ethnicity.The British situation comedy has been a fruitful area for writers and actors to explore male characterisation with recurrent themes such as failure, an inability to make meaningful relationships, or issues coming to terms with changing attitudes to gender and the social position of men. Theoretical analysis of comedic strategies is combined with an awareness of how the television sitcom has been in conversation with the wider culture of Britain, giving expression to anxieties and conflicts sometimes too painful to address in any other way. Consequently, the seismic changes in male identity over a sixty year period are reflected in characters struggling to come to terms with a new landscape of identity.The authors come from a variety of academic backgrounds with well-established authors sitting alongside new voices. A significant period of development in the situation comedy is mapped, with both classic, popular series and more esoteric entries. The volume should find wide interest within academia (media and cultural studies, gender studies) and the wider public as the British situation comedy continues to attract much attention both in the UK and internationally.