Wayne Johnson – författare

The Routledge Companion to Folk Horror offers a comprehensive guide to this popular genre. It explores its origins, canonical texts and thinkers, the crucial underlying themes of nostalgia and hauntology, and identifies new trends in the field.Divided into five parts, the first focuses on the history of Folk Horror from medieval texts to the present day. It considers the first wave of contemporary Folk Horror through the films of the ‘unholy trinity’, as well as discussing the influence of ancient gods and early Folk Horror. Part 2 looks at the spaces, landscapes, and cultural relics, which form a central focus for Folk Horror. In Part 3, the contributors examine the rich history of the use of folklore in children’s fiction. The next part discusses recent examples of Folk Horror-infused music and image. Chapters consider the relationship between different genres of music to Folk Horror (such as folk music, black metal, and new wave), sound and performance, comic books, and the Dark Web. Often regarded as British in origin, the final part analyses texts which break this link, as the contributors reveal the larger realms of regional, national, international, and transnational Folk Horror.Featuring 40 contributions, this authoritative collection brings together leading voices in the field. It is an invaluable resource for students and scholars interested in this vibrant genre and its enduring influence on literature, film, music, and culture.

The Routledge Companion to Folk Horror offers a comprehensive guide to this popular genre. It explores its origins, canonical texts and thinkers, the crucial underlying themes of nostalgia and hauntology, and identifies new trends in the field.Divided into five parts, the first focuses on the history of Folk Horror from medieval texts to the present day. It considers the first wave of contemporary Folk Horror through the films of the ‘unholy trinity’, as well as discussing the influence of ancient gods and early Folk Horror. Part 2 looks at the spaces, landscapes, and cultural relics, which form a central focus for Folk Horror. In Part 3, the contributors examine the rich history of the use of folklore in children’s fiction. The next part discusses recent examples of Folk Horror-infused music and image. Chapters consider the relationship between different genres of music to Folk Horror (such as folk music, black metal, and new wave), sound and performance, comic books, and the Dark Web. Often regarded as British in origin, the final part analyses texts which break this link, as the contributors reveal the larger realms of regional, national, international, and transnational Folk Horror.Featuring 40 contributions, this authoritative collection brings together leading voices in the field. It is an invaluable resource for students and scholars interested in this vibrant genre and its enduring influence on literature, film, music, and culture.

A rotorcraft is a class of aircraft that uses large-diameter rotating wings to accomplish efficient vertical take-off and landing. The class encompasses helicopters of numerous configurations (single main rotor and tail rotor, tandem rotors, coaxial rotors), tilting proprotor aircraft, compound helicopters, and many other innovative configuration concepts. Aeromechanics covers much of what the rotorcraft engineer needs: performance, loads, vibration, stability, flight dynamics, and noise. These topics include many of the key performance attributes and the often-encountered problems in rotorcraft designs. This comprehensive book presents, in depth, what engineers need to know about modelling rotorcraft aeromechanics. The focus is on analysis, and calculated results are presented to illustrate analysis characteristics and rotor behaviour. The first third of the book is an introduction to rotorcraft aerodynamics, blade motion, and performance. The remainder of the book covers advanced topics in rotary wing aerodynamics and dynamics.

Alan Garner has been described by Philip Pullman as ‘the most important British writer of fantasy since Tolkien’. This book is the first collected edition to critically analyse Garner’s body of work. This comprehensive analysis stretches from Garner’s early work, from the straightforward magical world of The Weirdstone of Brisingamen (1960) to the more challenging ‘adolescent fiction’ of The Owl Service (1967) and Red Shift (1973). It then moves to analysis of Garner’s subsequent corpus of work that is remarkable for both its thematic continuity and imaginative range, including Strandloper (1996), Thursbitch (2003) and Boneland (2012). His most recent novel, Treacle Walker, was shortlisted for the 2022 Booker Prize and recent criticism centred on folk horror and hauntology has reignited a critical and public acknowledgement of Garner’s work.

This book looks at contemporary Gothic cinema within a transnational approach. With a focus on the aesthetic and philosophical roots which lie at the heart of the Gothic, the study invokes its literary as well as filmic forebears by exploring how these styles informed strands of the modern filmic Gothic: the ghost narrative, folk horror, the vampire movie, cosmic horror and, finally, the zombie film. In recent years, the concept of transnationalism has ‘trans’-cended its original boundaries, perhaps excessively in the minds of some. Originally defined in the wake of the rise of globalisation in the 1990s, as a way to study cinema beyond national boundaries, where the look and the story of a film reflected the input of more than one nation, or region, or culture. It was considered too confining to study national cinemas in an age of internationalization, witnessing the fusions of cultures, and post-colonialism, exile and diasporas. The concept allows us to appreciate the broader range of forces from a wider international perspective while at the same time also engaging with concepts of nationalism, identity and an acknowledgement of cinema itself.

This book considers the presence of the supernatural and Gothic elements of the Western on screen. These dark and sinister undertones often exist in Western narratives to draw attention to the ever-present issue of death and its haunting resonance which characters encounter. This book examines this through key historic moments in Western film and its contemporary incarnations. The book detects imposing correlations in themes and currents between the Gothic and the Western relating to existential crisis and a loss of faith in ideologies and  institutions. These themes represent the tensions between the old and the new, the deranged insistence on civility and order in a chaotic landscape, disillusionment and the shattering of faith in the natural order, and even nature  and order themselves. The Western, just like the Gothic tale, reminds us that new frontiers are mired in the past, and optimism and survival are hunted down and haunted by guilt-ridden past and passed anxieties and traumas

This book looks at contemporary Gothic cinema within a transnational approach. With a focus on the aesthetic and philosophical roots which lie at the heart of the Gothic, the study invokes its literary as well as filmic forebears by exploring how these styles informed strands of the modern filmic Gothic: the ghost narrative, folk horror, the vampire movie, cosmic horror and, finally, the zombie film. In recent years, the concept of transnationalism has ‘trans’-cended its original boundaries, perhaps excessively in the minds of some. Originally defined in the wake of the rise of globalisation in the 1990s, as a way to study cinema beyond national boundaries, where the look and the story of a film reflected the input of more than one nation, or region, or culture. It was considered too confining to study national cinemas in an age of internationalization, witnessing the fusions of cultures, and post-colonialism, exile and diasporas. The concept allows us to appreciate the broader range of forces from a wider international perspective while at the same time also engaging with concepts of nationalism, identity and an acknowledgement of cinema itself.

From multiple Pulitzer Prize-nominated author; following Buck, a man fighting for his life, & Lucy, a semi-feral girl, living on the border of Shakopee Mdewakanton Sioux Community reservation as tragedy and trauma unite the two.Buck, government name Michael Fineday, Ojibwe name Miskwa' doden (Red Deer) is on the brink of suicide. He has just been served divorce papers by his wife Naomi, who is fed up with his savior complex and the danger it often attracts to their door. Living on the border of Shakopee Mdewakanton Sioux Community reservation, Buck makes a living as a boatbuilder and carpenter. He spends his days alone, trying to win the trust of a feral cat... until a semi-feral girl shows up, fascinated by the canoe Buck is building.Lucy, Ojibwe name Gage' bineh, (Everlasting Bird), lives in a trailer alone with her father, a local policeman struggling with PTSD which is compounded by the loss of Lucy's mother. Just barely fifteen she has lived with a lifetime of abuse, while knowing that if she ever spoke out, her father would bear the consequences. Buck senses Lucy is in trouble and doesn't hesitate to come to her defense. On the foundation of their shared Ojibwe heritage, they trace Lucy's abuse to a ring that extends farther than either of them ever imagined, while building a bond even sturdier than Buck's canoe.

In this gripping prequel to The Red Canoe, Buck navigates family, trauma and star-crossed romance in his search to track down his wayward brother. In this prequel to 2022's The Red Canoe, Buck, aka Michael Fineday, aka Red Deer is on his way to track down his wayward brother in the Twin Cities, when he's trapped in a snowstorm and rescued by Sally, a girl who is fighting her own demons. Though intrigued by Sally, most of Buck's time is spent trying to unravel his family's involvement with an elaborate racket which has recently gotten his cousin Ruben and his half-brother Bear killed.Eli, Buck's surviving brother, is up to his neck in the racket that involves insurance fraud and stolen vehicles, and unwilling to tell Buck the truth. The racketeer's kingpin thinks Eli has something they want - which is both his death warrant and his salvation. The problem is, Eli doesn't know exactly what the something is or how to find it; his only clue is a phrase in Anishinaabe language Ruben scrawled on the wall of his room before he was killed, and it's up to Buck to track it down.Meanwhile, Sally and Buck grow closer through the shared wounds of their difficult pasts; and Buck teaches her some Ashinaabe language and cultural practices. Strangely, all roads - both Sally's and Buck's - lead to the Witch Tree, an important spiritual reservoir in Native American religion, and where he is forced to face the many facets of his own identity and find a way for them both to heal.