Allison Craven – författare

This dynamic multidisciplinary collection of essays examines the uncanny, eerie, wondrous, and dreaded dimensions of oceans, seas, waterways, and watery forms of the oceanic South, a haunted global precinct stretching across the Pacific, Southern and Indian Oceans, and around Australasia, Oceania, Aotearoa New Zealand, and South Africa.Presenting work from leading scholars, the chapters contend with the contemporary fears and repressions associated with the return of environmental traumas, colonial traumas, and the spectres of the precolonial deep past that resurface in the present. The book examines the manifestations of these Gothic aesthetics and propensities across a range of watery spaces – seas, oceans, waterholes, and swamps – in vessels, ports, shorelines, journeys, strandings, and transformations, in amphibious bodies and the drowned, all of which promote haunted engagement with the materiality of water. This collection renews the interdisciplinary breadth of Gothic criticism and the relevance of Gothic affect and sensibility to understanding the histories and cultures of the oceanic South through an exploration of the rarely considered uncanniness of the oceans, waterways, and aqueous forms of the Southern Hemisphere, haunted by colonial and precolonial imaginings of the Antipodes, the legacies of imperialism, and the “double vision” between Oceanic and settler-colonial epistemologies, and the encroaching menace of climate change. Comprising diverse contributions from screen, literary, and cultural studies, environmental humanities, human geography, and creative practice in ecological sound art, and poetry, the collection examines the uncanny and the sublime in watery fictions and authentic settings of a range of aqueous southern forms – ocean surfaces and depths, haunted shallows and reefs, moist mangroves, moss and lichen, the awesome horror of tidal apocalypse.This book will be illuminating reading for students and scholars of cultural studies, postcolonial studies, area studies, and Indigenous studies.

This dynamic multidisciplinary collection of essays examines the uncanny, eerie, wondrous, and dreaded dimensions of oceans, seas, waterways, and watery forms of the oceanic South, a haunted global precinct stretching across the Pacific, Southern and Indian Oceans, and around Australasia, Oceania, Aotearoa New Zealand, and South Africa.Presenting work from leading scholars, the chapters contend with the contemporary fears and repressions associated with the return of environmental traumas, colonial traumas, and the spectres of the precolonial deep past that resurface in the present. The book examines the manifestations of these Gothic aesthetics and propensities across a range of watery spaces – seas, oceans, waterholes, and swamps – in vessels, ports, shorelines, journeys, strandings, and transformations, in amphibious bodies and the drowned, all of which promote haunted engagement with the materiality of water. This collection renews the interdisciplinary breadth of Gothic criticism and the relevance of Gothic affect and sensibility to understanding the histories and cultures of the oceanic South through an exploration of the rarely considered uncanniness of the oceans, waterways, and aqueous forms of the Southern Hemisphere, haunted by colonial and precolonial imaginings of the Antipodes, the legacies of imperialism, and the “double vision” between Oceanic and settler-colonial epistemologies, and the encroaching menace of climate change. Comprising diverse contributions from screen, literary, and cultural studies, environmental humanities, human geography, and creative practice in ecological sound art, and poetry, the collection examines the uncanny and the sublime in watery fictions and authentic settings of a range of aqueous southern forms – ocean surfaces and depths, haunted shallows and reefs, moist mangroves, moss and lichen, the awesome horror of tidal apocalypse.This book will be illuminating reading for students and scholars of cultural studies, postcolonial studies, area studies, and Indigenous studies.

Monstrous Beings and Media Cultures examines the monsters and sinister creatures that spawn from folk horror, Gothic fiction, and from various sectors of media cultures. The collection illuminates how folk monsters form across different art and media traditions, and interrogates the 21C revitalization of folk as both a cultural formation and aesthetic mode. The essays explore how combinations of vernacular and institutional creative processes shape the folkloric and/or folkoresque attributes of monstrous beings, their popularity, and the contexts in which they are received. While it focuses on 21C permutations of folk monstrosity, the collection is transhistorical in approach, featuring chapters that focus on contemporary folk monsters, historical antecedents, and the pre-C21st art and media traditions that shaped enduring monstrous beings. The collection also illuminates how folk monsters and folk horror travel across cultures, media, and time periods, and how iconic monsters are tethered to yet repeatedly become unanchored from material and regional contexts.

‘Finding Queensland in Australian Cinema’ explores aspects of gender, race and region in films and television produced in the northern Australian state of Queensland. Drawing on a range of scholarly sources and an extensive filmography, the essays in the book investigate poetics and production histories from the 'period' films of the Australian cinema revival of the 1970s to contemporary 'Queensland-genre' films, highlighting the resonances of regional locations amid the energetic growth of the film industry, and promotion of Queensland as a production destination.

‘Finding Queensland in Australian Cinema’ explores aspects of gender, race and region in films and television produced in the northern Australian state of Queensland. Drawing on a range of scholarly sources and an extensive filmography, the essays in the book investigate poetics and production histories from the 'period' films of the Australian cinema revival of the 1970s to contemporary 'Queensland-genre' films, highlighting the resonances of regional locations amid the energetic growth of the film industry, and promotion of Queensland as a production destination.

Feminism, masculinity and fairy tale figure within an extended analysis of Disney's Beauty and the Beast (1991), in light of the live-action remake, Beauty and the Beast (2017). The history of the fairy tale Beauty and the Beast is compared with Disney's adaptation which centralises the figure of the Beast rather than the heroine, Belle. A flagship during a key period of Disney’s corporate expansion in the early 1990s, in the first section of the book, the production is situated with respect to gender histories in the corresponding period: the rise of post-feminism, and its implicit disavowal of feminism, the mythopoetic men’s movement and the crisis of masculinity. The following section canvasses views of masculinity in second wave feminism and the role of myth and fairy in key works of feminism. A critical discussion ensues of twenty-first century wonder cinema in which the influence of feminist ideas is seen to circulate within the pastiche treatments of fairy tales and enchantment.