Richard Hand – författare

A collection which considers the crucial role of radio in small nations, presenting diverse voices and diverse themes and held together by passionate and scrupulous research.

The fifteen groundbreaking essays contained in this book address the concept of adaptation in relation to horror cinema. Adaptation is not only a key cultural practice and strategy for filmmakers, but it is also a theme of major importance within horror cinema as a hole. The history of the genre is full of adaptations that have drawn from fiction or folklore, or that have assumed the shape of remakes of pre-existing films. The horror genre itself also abounds with its own myriad transformations and transmutations.The essays within this volume engage with an impressive range of horror texts, from the earliest silent horror films by Thomas Edison and Jean Epstein through to important contemporary phenomena, such as the western appropriation of Japanese horror motifs. Classic works by Alfred Hitchcock, David Cronenberg and Abel Ferrara receive cutting-edge re-examination, as do unjustly neglected works by Mario Bava, Guillermo del Toro and Stan Brakhage.

This groundbreaking book is the first full-length study of British horror radio from the pioneering days of recording and broadcasting right through to the digital audio cultures of our own time. The book offers an historical, critical and theoretical exploration of horror radio and audio performance examining key areas such as writing, narrative, performance practice and reception throughout the history of that most unjustly neglected of popular art forms: radio drama and ‘spoken word’ auditory cultures. The volume draws on extensive archival research as well as insightful interviews with significant writers, producers and actors. The book offers detailed analysis of major radio series such as Appointment with Fear, The Man in Black, The Price of Fear and Fear on Four as well as one-off horror plays, comedy-horror and experimental uses of binaural and digital technology in producing uncanny audio.

The fifteen groundbreaking essays contained in this book address the concept of adaptation in relation to horror cinema. Adaptation is not only a key cultural practice and strategy for filmmakers, but it is also a theme of major importance within horror cinema as a hole. The history of the genre is full of adaptations that have drawn from fiction or folklore, or that have assumed the shape of remakes of pre-existing films. The horror genre itself also abounds with its own myriad transformations and transmutations.The essays within this volume engage with an impressive range of horror texts, from the earliest silent horror films by Thomas Edison and Jean Epstein through to important contemporary phenomena, such as the western appropriation of Japanese horror motifs. Classic works by Alfred Hitchcock, David Cronenberg and Abel Ferrara receive cutting-edge re-examination, as do unjustly neglected works by Mario Bava, Guillermo del Toro and Stan Brakhage.

This is the first title in a new series of volumes examining different dimensions of the media and culture in small nations. Whether at a local, national or international level, radio has played and continues to play a key role in nurturing or denying, even destroying, peoples sense of belonging to a particular community, whether it be defined in terms of place, ethnicity, language or patterns of consumption. Typically, the radio has been used for purposes of propaganda and as a means of forging national identity both at home and also further afield in the case of colonial exploits. Drawing on examples of four models of, the chapters in this volume will provide an historical and contemporary overview of radio in a number of small nations. The authors propose a stimulating discussion on the role radio has played in a variety of nation contexts worldwide.

The fifteen groundbreaking essays contained in this book address the concept of adaptation in relation to horror cinema. Adaptation is not only a key cultural practice and strategy for filmmakers, but it is also a theme of major importance within horror cinema as a hole. The history of the genre is full of adaptations that have drawn from fiction or folklore, or that have assumed the shape of remakes of pre-existing films. The horror genre itself also abounds with its own myriad transformations and transmutations.The essays within this volume engage with an impressive range of horror texts, from the earliest silent horror films by Thomas Edison and Jean Epstein through to important contemporary phenomena, such as the western appropriation of Japanese horror motifs. Classic works by Alfred Hitchcock, David Cronenberg and Abel Ferrara receive cutting-edge re-examination, as do unjustly neglected works by Mario Bava, Guillermo del Toro and Stan Brakhage.

Over the course of ten seasons since 2011, the television series American Horror Story (AHS), created by Ryan Murphy and Brad Falchuk, has continued to push the boundaries of the televisual form in new and exciting ways. Emerging in a context which has seen a boom in popularity for horror series on television, AHS has distinguished itself from its ‘rivals’ such as The Walking Dead, Bates Motel or Penny Dreadful through its diverse strategies and storylines, which have seen it explore archetypal narratives of horror culture as well as engage with real historical events. Utilising a repertory company model for its casting, the show has challenged issues around contemporary politics, heteronormativity, violence on the screen and disability, to name but a few. This new collection of essays approaches the AHS anthology series from a variety of critical perspectives within the broader field of television studies and its transections with other disciplines.

This is the first title in a new series of volumes examining different dimensions of the media and culture in small nations. Whether at a local, national or international level, radio has played and continues to play a key role in nurturing or denying - even destroying - people's sense of 'belonging' to a particular community, whether it be defined in terms of place, ethnicity, language or patterns of consumption. Typically, the radio has been used for purposes of propaganda and as a means of forging national identity both at home and also further afield in the case of colonial exploits. Drawing on examples of four models of, the chapters in this volume will provide an historical and contemporary overview of radio in a number of small nations. The authors propose a stimulating discussion on the role radio has played in a variety of nation contexts worldwide.