Will Brooker – författare

A unique, moving and dazzlingly researched exploration of the places, people, musicians, writers and filmmakers that inspired David Jones to become David Bowie, what we can learn from his life’s work and journey, and why he will always matter. When David Bowie died on 10th January 2016, it seemed the whole world was united in mourning. His greatest hits were sung tearfully in pubs up and down Britain, garlands of flowers were left at the Aladdin Sane mural in his old stomping ground of Brixton and tributes poured in from a galaxy of stars. To many of us, Bowie was so much more than a pop idol. But why?In Why Bowie Matters, Professor Will Brooker answers that question persuasively, as both a fan and an academic. A Bowie obsessive since childhood, he hit the headlines over the course of a year-long immersive research project that took him from London to Berlin and New York, following in Bowie’s footsteps, only listening to music and reading books he loved, and even at times adopting his fashion.In this original and illuminating book, Professor Brooker approaches Bowie from various angles, re-tracing his childhood on the streets of Bromley, taking us through his record collection and bookshelves, and deciphering the symbols and codes of his final work, Blackstar to piece together how an ordinary suburban teenager turned himself into a legend, and how perhaps we too could be a little more Bowie.He shows us that while David Robert Jones died on that terrible day in January, David Bowie will live on forever.

A unique, moving and dazzlingly researched exploration of the places, people, musicians, writers and filmmakers that inspired David Jones to become David Bowie, what we can learn from his life’s work and journey, and why he will always matter.When David Bowie died on 10th January 2016, it seemed the whole world was united in mourning. His greatest hits were sung tearfully in pubs up and down Britain, garlands of flowers were left at the Aladdin Sane mural in his old stomping ground of Brixton and tributes poured in from a galaxy of stars. To many of us, Bowie was so much more than a pop idol. But why?In Why Bowie Matters, Professor Will Brooker answers that question persuasively, as both a fan and an academic. A Bowie obsessive since childhood, he hit the headlines over the course of a year-long immersive research project that took him from London to Berlin and New York, following in Bowie’s footsteps, only listening to music and reading books he loved, and even at times adopting his fashion.In this original and illuminating book, Professor Brooker approaches Bowie from various angles, re-tracing his childhood on the streets of Bromley, taking us through his record collection and bookshelves, and deciphering the symbols and codes of his final work, Blackstar to piece together how an ordinary suburban teenager turned himself into a legend, and how perhaps we too could be a little more Bowie.He shows us that while David Robert Jones died on that terrible day in January, David Bowie will live on forever.

A unique, moving and dazzlingly researched exploration of the places, people, musicians, writers and filmmakers that inspired David Jones to become David Bowie, what we can learn from his life’s work and journey, and why he will always matter. When David Bowie died on 10th January 2016, it seemed the whole world was united in mourning. His greatest hits were sung tearfully in pubs up and down Britain, garlands of flowers were left at the Aladdin Sane mural in his old stomping ground of Brixton and tributes poured in from a galaxy of stars. To many of us, Bowie was so much more than a pop idol. But why?In Why Bowie Matters, Professor Will Brooker answers that question persuasively, as both a fan and an academic. A Bowie obsessive since childhood, he hit the headlines over the course of a year-long immersive research project that took him from London to Berlin and New York, following in Bowie’s footsteps, only listening to music and reading books he loved, and even at times adopting his fashion.In this original and illuminating book, Professor Brooker approaches Bowie from various angles, re-tracing his childhood on the streets of Bromley, taking us through his record collection and bookshelves, and deciphering the symbols and codes of his final work, Blackstar to piece together how an ordinary suburban teenager turned himself into a legend, and how perhaps we too could be a little more Bowie.He shows us that while David Robert Jones died on that terrible day in January, David Bowie will live on forever.

Since its release in 1982, Ridley Scott's Blade Runner, based on Philip K. Dick's novel Do Androids Dream of Electric Sheep?, has remained a cult classic through its depiction of a futuristic Los Angeles; its complex, enigmatic plot; and its underlying questions about the nature of human identity. The Blade Runner Experience: The Legacy of a Science Fiction Classic examines the film in a broad context, examining its relationship to the original novel, the PC game, the series of sequels, and the many films influenced by its style and themes. It investigates Blade Runner online fandom and asks how the film's future city compares to the present-day Los Angeles, and it revisits the film to pose surprising new questions about its characters and their world.

The Audience Studies Reader brings together key writings exploring questions of reception and interpretation, reprinting forgotten pieces and combining key essays with new research. Beginning with a general introduction to the Reader, each extract is placed in its historical context with specially written section prefaces and suggestions for further reading.Organized chronologically and thematically, sections address: the paradigm shift - from 'effects' to 'uses and gratifications'; moral panic and censorship; the active audience and reading as resistance; shifts in screen theory - the spectator and the audience; the fan and the audience; female audiences; nation and ethnicity. Essays by: Theodor Adorno, Ien Ang, Camille Bacon-Smith, Jacqueline Bobo, Martin Barker, Michel de Certeau, Dawn Currie, Barbara Ehrenreich, John Fiske, George Gerbner, Marie Gillespie, Larry Gross, Sara Gwenllian-Jones, Miriam Hansen, Richard Hoggart, Henry Jenkins, Sut Jhally, Elihu Katz, Paul F. Lazarsfeld, Justin Lewis, Tamar Liebes, Angela McRobbie, Robert Merton, David Morley, David Muggleton, Laura Mulvey, Janice Radway, Philip Schlesinger, Esther Sonnet, Jackie Stacey, Frederic Wertham, Charles Winickand Gregory Woods

The Audience Studies Reader brings together key writings exploring questions of reception and interpretation, reprinting forgotten pieces and combining key essays with new research. Beginning with a general introduction to the Reader, each extract is placed in its historical context with specially written section prefaces and suggestions for further reading.Organized chronologically and thematically, sections address: the paradigm shift - from 'effects' to 'uses and gratifications'; moral panic and censorship; the active audience and reading as resistance; shifts in screen theory - the spectator and the audience; the fan and the audience; female audiences; nation and ethnicity. Essays by: Theodor Adorno, Ien Ang, Camille Bacon-Smith, Jacqueline Bobo, Martin Barker, Michel de Certeau, Dawn Currie, Barbara Ehrenreich, John Fiske, George Gerbner, Marie Gillespie, Larry Gross, Sara Gwenllian-Jones, Miriam Hansen, Richard Hoggart, Henry Jenkins, Sut Jhally, Elihu Katz, Paul F. Lazarsfeld, Justin Lewis, Tamar Liebes, Angela McRobbie, Robert Merton, David Morley, David Muggleton, Laura Mulvey, Janice Radway, Philip Schlesinger, Esther Sonnet, Jackie Stacey, Frederic Wertham, Charles Winickand Gregory Woods

An academic monograph that traces the various ways in which Batman has been interpreted over the years - by wartime film producers, gay teenagers, pop artists, Internet fan communities, and so on. Written from both an academic and a fan's perspective, is examines how a character can be a brand and a myth at the same time. The book draws on substantial research from the DC Comics archives, as well as interviews with DC editors and writers. Also included is a comprehensive Batman iconography, listing examples of how Batman has been used as a reference in other TV shows, movies, and fast food restaurants.

The book features a lengthy interview with Simon Pegg, co-creator of the sitcom "Spaced".

Publishing alongside the world premiere of Christopher Nolan's third Batman film "The Dark Knight Rises", Will Brooker's new book explores Batman's twenty-first century incarnations. Brooker's close analysis of "Batman Begins" and "The Dark Knight" offers a rigorous, accessible account of the complex relationship between popular films, audiences, and producers in our age of media convergence. By exploring themes of authorship, adaptation and intertextuality, he addresses a myriad of questions raised by these films: did "Batman Begins" end when "The Dark Knight began? Does its story include the Gotham Knight DVD, or the 'Why So Serious' viral marketing campaign? Is it separate from the parallel narratives of the Arkham Asylum videogame, the monthly comic books, the animated series and the graphic novels? Can the brightly campy incarnations of the Batman ever be fully repressed by "The Dark Knight", or are they an intrinsic part of the character? Do all of these various manifestations feed into a single Batman metanarrative? This will be a vital text for film students and academics, as well as legions of Batman fans.

What began with Alan Moore and Dave Gibbons’ landmark graphic novel, Watchmen (1987) is no longer a single story, but rather a cross-platform, multi-media franchise, including a role-playing game and video game, a motion comic, a Zack Snyder movie, and a series of comic book prequels and sequels, as well as a prestige HBO TV series.Will Brooker explores the way that Watchmen expanded over time from the mid-1980s to the present day, drawing on theories of adaptation, intertextuality and deconstruction to argue that each addition subtly changes our understanding of the original. Does it matter whether these adaptations are ‘faithful’? Can they ever be, as they cross over into another medium? How does each version enter a dialogue with the others? And as Damon Lindelof’s series ran parallel to an entirely distinct comic book Watchmen sequel, Doomsday Clock, how do readers and viewers make sense of these conflicting narratives? Can we relate the unstable, shifting stories of Watchmen to our contemporary climate of post-truth, where we have to weigh up contradictory versions of the facts and decide which we believe?

What began with Alan Moore and Dave Gibbons’ landmark graphic novel, Watchmen (1987) is no longer a single story, but rather a cross-platform, multi-media franchise, including a role-playing game and video game, a motion comic, a Zack Snyder movie, and a series of comic book prequels and sequels, as well as a prestige HBO TV series.Will Brooker explores the way that Watchmen expanded over time from the mid-1980s to the present day, drawing on theories of adaptation, intertextuality and deconstruction to argue that each addition subtly changes our understanding of the original. Does it matter whether these adaptations are ‘faithful’? Can they ever be, as they cross over into another medium? How does each version enter a dialogue with the others? And as Damon Lindelof’s series ran parallel to an entirely distinct comic book Watchmen sequel, Doomsday Clock, how do readers and viewers make sense of these conflicting narratives? Can we relate the unstable, shifting stories of Watchmen to our contemporary climate of post-truth, where we have to weigh up contradictory versions of the facts and decide which we believe?

What began with Alan Moore and Dave Gibbons'' landmark graphic novel, Watchmen (1987) is no longer a single story, but rather a cross-platform, multi-media franchise, including a role-playing game and video game, a motion comic, a Zack Snyder movie, and a series of comic book prequels and sequels, as well as a prestige HBO TV series. Will Brooker explores the way that Watchmen expanded over time from the mid-1980s to the present day, drawing on theories of adaptation, intertextuality and deconstruction to argue that each addition subtly changes our understanding of the original. Does it matter whether these adaptations are ''faithful''? Can they ever be, as they cross over into another medium? How does each version enter a dialogue with the others? And as Damon Lindelof''s series ran parallel to an entirely distinct comic book Watchmen sequel, Doomsday Clock, how do readers and viewers make sense of these conflicting narratives? Can we relate the unstable, shifting stories of Watchmen to our contemporary climate of post-truth, where we have to weigh up contradictory versions of the facts and decide which we believe?

What began with Alan Moore and Dave Gibbons'' landmark graphic novel, Watchmen (1987) is no longer a single story, but rather a cross-platform, multi-media franchise, including a role-playing game and video game, a motion comic, a Zack Snyder movie, and a series of comic book prequels and sequels, as well as a prestige HBO TV series. Will Brooker explores the way that Watchmen expanded over time from the mid-1980s to the present day, drawing on theories of adaptation, intertextuality and deconstruction to argue that each addition subtly changes our understanding of the original. Does it matter whether these adaptations are ''faithful''? Can they ever be, as they cross over into another medium? How does each version enter a dialogue with the others? And as Damon Lindelof''s series ran parallel to an entirely distinct comic book Watchmen sequel, Doomsday Clock, how do readers and viewers make sense of these conflicting narratives? Can we relate the unstable, shifting stories of Watchmen to our contemporary climate of post-truth, where we have to weigh up contradictory versions of the facts and decide which we believe?

*For those aspiring authors who are interested in the path to success*'I read this yesterday in one glorious sitting! What an absolute treat of a book!' Lesley Kara'Illuminating, revealing and absolutely fascinating, Will Brooker offers us the keys to the Jewell kingdom.' Vanessa Fox O'Loughlin aka Sam Blake__________Have you ever thought about what it takes to become a bestselling writer?If so, The Truth About Lisa Jewell is the book for you. It is the story of how a novel is written, from before the start to after the finish; it's an in-depth analysis of how that novel fits into a bestselling author like Lisa Jewell's career and her previous work, and what her style shares with authors from James Joyce to Martin Amis.But this is more than just a study of an author at the top of her game. Like Lisa Jewell's much-loved novels, it's also the story of a relationship - between the bestselling author and the professor of cultural studies who has made her his muse - evolving slowly as the world comes gradually out of Covid. It's the story of two very different writers getting to know each other gradually through words; two complete strangers becoming something more like friends.A must-have for fans of Lisa Jewell, for aspiring authors who are interested in the path to success - and a testament to the way books can bring us together. . .__________Readers LOVE The Truth About Lisa Jewell . . .***** 'This book is perfect for fans and aspiring writers alike ... It's faultless to the point that I'd say it's a must read for anyone interested in Lisa Jewell or her work.'***** 'An insightful and well written book.'***** 'Brooker ... succeeds in being a great guide to [Lisa Jewell's] progression.'

Over the sixty years of his existence, Batman has encountered an impressive array of cultural icons and has gradually become one himself. This acclaimed book examines what Batman means and has meant to the various audiences, groups and communities who have tried to control and interpret him over the decades. Brooker reveals the struggles over Batman's meaning by shining a light on the cultural issues of the day that impacted on the development of the character. They include: patriotic propaganda of the Second World War; the accusation that Batman was corrupting the youth of America by appearing to promote a homosexual lifestyle to the fans of his comics; Batman becoming a camp, pop culture icon through the ABC TV series of the sixties; fans' interpretation of Batman in response to the comics and the Warner Bros. franchise of films.

Over the sixty years of his existence, Batman has encountered an impressive array of cultural icons and has gradually become one himself. This acclaimed book examines what Batman means and has meant to the various audiences, groups and communities who have tried to control and interpret him over the decades. Brooker reveals the struggles over Batman's meaning by shining a light on the cultural issues of the day that impacted on the development of the character. They include: patriotic propaganda of the Second World War; the accusation that Batman was corrupting the youth of America by appearing to promote a homosexual lifestyle to the fans of his comics; Batman becoming a camp, pop culture icon through the ABC TV series of the sixties; fans' interpretation of Batman in response to the comics and the Warner Bros. franchise of films.

Most of the many books about David Bowie track his artistic 'changes' chronologically throughout his career. This book, uniquely, examines Bowie's 'sameness': his recurring themes, images, motifs and concepts as an artist, across all his creative work, from lyrics and music through to costumes, storyboards, films, plays and painting.To be published on Bowie's 70th birthday, Forever Stardust looks at Bowie's work not as a linear evolution through calendar time, to his tragic death in January 2016, but as a matrix, a dialogue, a network of ideas that echo back and forth across the five decades of his career, interacting with each other and with the surrounding culture. It explores Bowie's creative output as a whole, tracing the repetitions and obsessions that structure his work, discovering what they tell us about Bowie in all his forms, from Ziggy Stardust to David Jones.David Bowie challenged cultural expectations from the early 1970s until his final masterpiece, Blackstar. Forever Stardust offers a new understanding of this remarkable & significant artist.

Most of the many books about David Bowie track his artistic 'changes' chronologically throughout his career. This book, uniquely, examines Bowie's 'sameness': his recurring themes, images, motifs and concepts as an artist, across all his creative work, from lyrics and music through to costumes, storyboards, films, plays and painting.To be published on Bowie's 70th birthday, Forever Stardust looks at Bowie's work not as a linear evolution through calendar time, to his tragic death in January 2016, but as a matrix, a dialogue, a network of ideas that echo back and forth across the five decades of his career, interacting with each other and with the surrounding culture. It explores Bowie's creative output as a whole, tracing the repetitions and obsessions that structure his work, discovering what they tell us about Bowie in all his forms, from Ziggy Stardust to David Jones.David Bowie challenged cultural expectations from the early 1970s until his final masterpiece, Blackstar. Forever Stardust offers a new understanding of this remarkable & significant artist.

Publishing alongside the world premiere of Christopher Nolan's third Batman film "The Dark Knight Rises", Will Brooker's new book explores Batman's twenty-first century incarnations. Brooker's close analysis of "Batman Begins" and "The Dark Knight" offers a rigorous, accessible account of the complex relationship between popular films, audiences, and producers in our age of media convergence. By exploring themes of authorship, adaptation and intertextuality, he addresses a myriad of questions raised by these films: did "Batman Begins" end when "The Dark Knight began? Does its story include the Gotham Knight DVD, or the 'Why So Serious' viral marketing campaign? Is it separate from the parallel narratives of the Arkham Asylum videogame, the monthly comic books, the animated series and the graphic novels? Can the brightly campy incarnations of the Batman ever be fully repressed by "The Dark Knight", or are they an intrinsic part of the character? Do all of these various manifestations feed into a single Batman metanarrative? This will be a vital text for film students and academics, as well as legions of Batman fans.

The Many Lives of the Batman (1991) was a pioneer within cultural and comic book scholarship. This fresh new sequel retains the best of the original chapters but also includes images, new chapters and new contributions from the Batman writers and editors. Spanning 75 years and multiple incarnations, this is the definitive history of Batman.

The release of Star Wars in 1977 marked the start of what would become a colossal global franchise. Star Wars remains the second highest-grossing film in the United States, and George Lucas's six-part narrative has grown into something more: a culture that goes far beyond the films themselves, with tie-in toys, novels, comics, games and DVDs as well as an enthusiastic fan community which creates its own Star Wars fictions. Critical studies of Star Wars have treated it as a cultural phenomenon, or in terms of its special effects, fans and merchandising, or as a film that marked the end of New Hollywood's innovation and the birth of the blockbuster.Will Brooker's illuminating study of the film takes issue with many of these commonly-held ideas about Star Wars. He provides a close analysis of Star Wars as a film, carefully examining its shots, editing, sound design, cinematography and performances. Placing the film in the context of George Lucas's previous work, from his student shorts to his 1970s features, and the diverse influences that shaped his approach, from John Ford to Jean-Luc Godard, Brooker argues that Star Wars is not, as Lucas himself has claimed, a departure from his earlier cinema, but a continuation of his experiments with sound and image. He reveals Lucas's contradictory desires for total order and control, embodied by the Empire, and for the raw energy and creative improvisation of the Rebels. What seemed a simple fairy-tale becomes far more complex when we realise that the director is rooting for both sides; and this tension unsettles the saga as a whole, blurring the boundaries between Empire and Republic, dark side and light side, father and son.In his foreword to this new edition, Will Brooker discusses is how subsequent films in the series, specifically Rogue One (2016) and The Last Jedi (2017), foregrounded and developed the themes of opposition that are at the heart of Star Wars. He shows how Derridean theories of opposites which become undermined and subverted, and which change places are made more clear with hindsight and provide us with a useful lens for looking back at the 1977 Star Wars.

The release of Star Wars in 1977 marked the start of what would become a colossal global franchise. Star Wars remains the second highest-grossing film in the United States, and George Lucas''s six-part narrative has grown into something more: a culture that goes far beyond the films themselves, with tie-in toys, novels, comics, games and DVDs as well as an enthusiastic fan community which creates its own Star Wars fictions. Critical studies of Star Wars have treated it as a cultural phenomenon, or in terms of its special effects, fans and merchandising, or as a film that marked the end of New Hollywood''s innovation and the birth of the blockbuster. Will Brooker''s illuminating study of the film takes issue with many of these commonly-held ideas about Star Wars. He provides a close analysis of Star Wars as a film, carefully examining its shots, editing, sound design, cinematography and performances. Placing the film in the context of George Lucas''s previous work, from his student shorts to his 1970s features, and the diverse influences that shaped his approach, from John Ford to Jean-Luc Godard, Brooker argues that Star Wars is not, as Lucas himself has claimed, a departure from his earlier cinema, but a continuation of his experiments with sound and image. He reveals Lucas''s contradictory desires for total order and control, embodied by the Empire, and for the raw energy and creative improvisation of the Rebels. What seemed a simple fairy-tale becomes far more complex when we realise that the director is rooting for both sides; and this tension unsettles the saga as a whole, blurring the boundaries between Empire and Republic, dark side and light side, father and son.In his foreword to this new edition, Will Brooker discusses is how subsequent films in the series, specifically Rogue One (2016) and The Last Jedi (2017), foregrounded and developed the themes of opposition that are at the heart of Star Wars. He shows how Derridean theories of opposites which become undermined and subverted, and which change places are made more clear with hindsight and provide us with a useful lens for looking back at the 1977 Star Wars.

The release of Star Wars in 1977 marked the start of what would become a colossal global franchise. Star Wars remains the second highest-grossing film in the United States, and George Lucas''s six-part narrative has grown into something more: a culture that goes far beyond the films themselves, with tie-in toys, novels, comics, games and DVDs as well as an enthusiastic fan community which creates its own Star Wars fictions. Critical studies of Star Wars have treated it as a cultural phenomenon, or in terms of its special effects, fans and merchandising, or as a film that marked the end of New Hollywood''s innovation and the birth of the blockbuster. Will Brooker''s illuminating study of the film takes issue with many of these commonly-held ideas about Star Wars. He provides a close analysis of Star Wars as a film, carefully examining its shots, editing, sound design, cinematography and performances. Placing the film in the context of George Lucas''s previous work, from his student shorts to his 1970s features, and the diverse influences that shaped his approach, from John Ford to Jean-Luc Godard, Brooker argues that Star Wars is not, as Lucas himself has claimed, a departure from his earlier cinema, but a continuation of his experiments with sound and image. He reveals Lucas''s contradictory desires for total order and control, embodied by the Empire, and for the raw energy and creative improvisation of the Rebels. What seemed a simple fairy-tale becomes far more complex when we realise that the director is rooting for both sides; and this tension unsettles the saga as a whole, blurring the boundaries between Empire and Republic, dark side and light side, father and son.In his foreword to this new edition, Will Brooker discusses is how subsequent films in the series, specifically Rogue One (2016) and The Last Jedi (2017), foregrounded and developed the themes of opposition that are at the heart of Star Wars. He shows how Derridean theories of opposites which become undermined and subverted, and which change places are made more clear with hindsight and provide us with a useful lens for looking back at the 1977 Star Wars.

The Many Lives of the Batman (1991) was a pioneer within cultural and comic book scholarship. This fresh new sequel retains the best of the original chapters but also includes images, new chapters and new contributions from the Batman writers and editors. Spanning 75 years and multiple incarnations, this is the definitive history of Batman.

The Many Lives of the Batman (1991) was a pioneer within cultural and comic book scholarship. This fresh new sequel retains the best of the original chapters but also includes images, new chapters and new contributions from the Batman writers and editors. Spanning 75 years and multiple incarnations, this is the definitive history of Batman.

Publishing alongside the world premiere of Christopher Nolan's third Batman film "The Dark Knight Rises", Will Brooker's new book explores Batman's twenty-first century incarnations. Brooker's close analysis of "Batman Begins" and "The Dark Knight" offers a rigorous, accessible account of the complex relationship between popular films, audiences, and producers in our age of media convergence. By exploring themes of authorship, adaptation and intertextuality, he addresses a myriad of questions raised by these films: did "Batman Begins" end when "The Dark Knight began? Does its story include the Gotham Knight DVD, or the 'Why So Serious' viral marketing campaign? Is it separate from the parallel narratives of the Arkham Asylum videogame, the monthly comic books, the animated series and the graphic novels? Can the brightly campy incarnations of the Batman ever be fully repressed by "The Dark Knight", or are they an intrinsic part of the character? Do all of these various manifestations feed into a single Batman metanarrative? This will be a vital text for film students and academics, as well as legions of Batman fans.