Steampunk Film: A Critical Introduction is a concise and accessible overview of steampunk's indelible impact within film, and acts as a case study for examining the ways with which genres hybridize and coalesce into new forms. Since the beginning of the 21st century, a series of high-profile and big-budget films have adopted steampunk identities to re-imagine periods of industrial development into fantastical histories where future meets past. By calling this growing mass-cultural fetishism for anachronistic machines into question, this book examines how a retro-futuristic romanticism for technology powered by cogs, pistons and steam-engines has taken center stage in blockbuster cinema. As the first monograph to consider cinema's unique relationship with steampunk, it places this burgeoning genre in the context of ongoing debates within film theory: each of which reflecting the movement's remarkable interest in reengineering historical technologies. Rather than acting as a niche subculture, Robbie McAllister argues that steampunk's proliferation in mainstream filmmaking reflects a desire to reassess contemporary relationships with technology and navigate the intense changes that the medium itself is experiencing in the 21st century.
Steampunk Film: A Critical Introduction is a concise and accessible overview of steampunk's indelible impact within film, and acts as a case study for examining the ways with which genres hybridize and coalesce into new forms. Since the beginning of the 21st century, a series of high-profile and big-budget films have adopted steampunk identities to re-imagine periods of industrial development into fantastical histories where future meets past. By calling this growing mass-cultural fetishism for anachronistic machines into question, this book examines how a retro-futuristic romanticism for technology powered by cogs, pistons and steam-engines has taken center stage in blockbuster cinema. As the first monograph to consider cinema's unique relationship with steampunk, it places this burgeoning genre in the context of ongoing debates within film theory: each of which reflecting the movement's remarkable interest in reengineering historical technologies. Rather than acting as a niche subculture, Robbie McAllister argues that steampunk's proliferation in mainstream filmmaking reflects a desire to reassess contemporary relationships with technology and navigate the intense changes that the medium itself is experiencing in the 21st century.
*Shortlisted for the Guardian's Not the Booker Prize 2019* ‘A strange and joyous marvel.’ Richard Flanagan *Shortlisted for the Guardian's Not the Booker Prize 2019* In Robbie Arnott’s widely acclaimed and much-loved first novel, a young man named Levi McAllister decides to build a coffin for his sister, Charlotte—who promptly runs for her life. A water rat swims upriver in quest of the cloud god. A fisherman hunts for tuna in partnership with a seal. And a father takes form from fire. The answers to these riddles are to be found in this tale of grief and love and the bonds of family, tracing a journey across the southern island. Utterly original in conception, spellbinding in its descriptions of nature and celebration of language, Flames is one of the most exciting debuts of recent years. Robbie Arnott was born in Launceston in 1989. He was a 2019 Sydney Morning Herald Best Young Novelist, and won the 2019 Margaret Scott Prize, the 2015 Tasmanian Young Writers’ Fellowship and the 2014 Scribe Nonfiction Prize for Young Writers. His widely acclaimed debut, Flames, was published in 2018. The Rain Heron, his second novel, will be published in 2020. Robbie’s writing has appeared in the Lifted Brow, Island, Kill Your Darlings, Meanjin and the anthology Seven Stories. He lives in Hobart. ‘Ambitious storytelling from a stunning new Australian voice. Flames is constantly surprising—I never knew where the story would take me next. This book has a lovely sense of wonder for the world. It’s brimming with heart and compassion.’ Rohan Wilson ‘Arnott confidently borrows from the genres of crime fiction, thriller, romance, comedy, eco-literature, and magical realism, throws them in the air, and lets the pieces land to form a flaming new world.’ Sydney Morning Herald ‘This is a startlingly good first novel, stylistically adventurous, gorgeous in its descriptions and with a compelling narrative that should find a wide readership.’ Australian ‘An Australian literary fabulist classic – well, it certainly deserves to be.’ Avid Reader ‘Visionary, vivid, full of audacious transformations: there’s a marvellous energy to this writing that returns the world to us aflame. A brilliant and wholly original debut.’ Gail Jones ‘Robbie Arnott is a vivid and bold new voice in Australian fiction.’ Danielle Wood ‘Arnott skilfully switches between different voices and genres in a trick reminiscent of David Mitchell’s Cloud Atlas. The range he displays is impressive, swinging from fable to gothic horror to hardboiled detective story.’ Books+Publishing ‘Flames is an exuberantly creative and confident debut. This is a story that sparks with invention...Invigorating, strange and occasionally brutal.’ Australian Book Review ‘This is the kind of book that you’ll be able to read a second, third, even fourth time, and it will still never reveal all its secrets. Composed with meticulous attention to detail, and a mastery of form rarely found in a debut novel, Flames will keep you stewing long after you’ve finished reading it.’ Readings 'A surprising story with a definite feminist edge...the novel’s playfulness and poetry make for a fresh and entertaining read.' Saturday Paper ‘It will be immediately apparent to anyone even vaguely familiar with Tasmania that Arnott is on intimate terms with his island, and his exquisite descriptive prose definitely does this gem of a place justice...More please, Mr Arnott.’ BookMooch ‘A gloriously audacious book. It runs astonishing risks and takes on the biggest emotions...It bowled me sideways.’ New Zealand Herald ‘The quirkiness of the characters—a staple of novels set in small-town Australia—allows for good-natured humour as well as biting satire, but it’s the mythic qualities of this novel that make it special. It’s as if Arnott has invented a whole mythology that is all our very own. If you like the fiction of Jane Rawson, I think you will like this one too.’ ANZ Lit Lovers ‘An extremely evocative and imaginative work...Undeniably powerful...it is refreshing to see the Australian landscape written about so vividly.’ Good Reading ‘[A] novel you will want to read more than once, not so much to plumb its depths as to savour its wild variety of styles and voices, to revel in its breathtaking descriptions of Tasmanian wilderness and to grasp its intricate structure...There is no doubt that a poetically wild and wicked imagination is at work here. More please!’ SA WEEKEND ‘It's not hard to see where the hype came from. This is an assured, funny and highly imaginative work. Flames is strange from the first, arresting sentence.’ Stuff NZ ‘Highly innovative...[A] finely built and realised first novel.’ Otago Daily Times ‘Unique and memorable...Extraordinary energy...A rich and memorable picture with prose of an exceptionally high quality. You won’t read another Australian literary novel like this anytime soon.’ Kill Your Darlings ‘Flames is brilliant...Enjoy it for its prose poetry, its vivid imagery, its brilliant turns of phrase on nearly every page.’ NZ Listener
From the Miles Franklin longlisted author of Flames, is a short story that will have you on the edge of your seat, screaming 'wake up'. ___________________ The mum and the dad are in bed but the boy is standing in the hallway. He's been sleepwalking again. The boy wakes up in the middle of the night to find a man in his hallway. But this is no regular man. No, he's a hall chimp. The man jumps around like a chimp, scratched his armpits like a chimp, rolls around on the floor like a chimp. The boy wants to play too...
Fowler: My Autobiography is a personal and honest account of a phenomenal life in football by goal-poacher Robbie Fowler. Pronounced as the greatest goal scoring talent since Jimmy Greaves, seventeen-year old Robbie Fowler was immediately catapulted to fame and fortune. The thin, baby-faced Toxteth lad, who had trampled the same streets as the rioters, was now a millionaire, an idol and inspiration to every kid who kicked a football. Yet his incredible potential was never quite realized. Injuries and persistent rumours of drug abuse and depression meant that though Fowler remains one of the most celebrated of Premiership stars, he never became the world-beater so many predicted. This is a fascinating and unbelievably frank insight into the beautiful game, taking us behind the closed doors of professional football to expose what really happens at both club and international level. This is a truthful and candid account of an incredible career, examining not just the records and the glory, but the low points and the miseries of a footballing life that many people now believe somewhere, somehow went wrong. Brilliance and controversy have stalked Robbie Fowler from his five goal performance in only his second full game for Liverpool, to his snorting of the touchline in the Merseyside derby. In this utterly compelling autobiography, Robbie Fowler looks back on what was, what wasn’t and what might have been. This is the story of one of the game’s true icons, and the story of the modern game itself.
Born in Liverpool in 1975, Robbie Fowler became a club icon by the time he was eighteen. Now, he takes us through the games that have shaped his life and football philosophy, more than 25 years after he first signed as a professional. Engaging, personal and revealing, Robbie opens up about his astounding achievements, the price of fame and the regrets and struggles of being a professional footballer. From Hillsborough to Madrid, via the cup treble, that goal line celebration, Houllier, Benítez, Klopp and more, Robbie explains his thinking about the modern game. Inviting readers inside the dressing room, he shares stories of legendary teammates like Rush, McManaman and Gerrard, as well as his rise to football's top table. What inspired him to play the beautiful game? How did he get back up after the injuries that blighted his career? What gave him the drive to keep going and pursue his dreams? My Life in Football is the inspiring story of a local boy who became a legend.
Late Capitalist Freud in Literary, Cultural, and Political Theory proposes that late Freudian theory has had an historical influence on the configuration of contemporary life and is central to the construction of twenty-first-century capitalism. This book investigates how we continue to live in the Freudian century, turning its attentions to specific crisis points within neoliberalism—the rise of figures like Trump, the development of social media as a new superego force, the economics that underpin the wellness and self-care industries as well as the contemporary consumption of popular culture—to maintain the continued historical importance of Freudian thought in all its dimensions. Drawing on psychoanalytic theory, literary theory, cultural studies, and political theory, this book assesses the contribution that an historical and theoretical consideration of the late Freud can make to analyzing certain aspects of late capital.
The old man looked down at his lifelong friend, now lying in his coffin, and said: 'Man, there's even a smile on his face.' 'There is,' said the widow, 'bit Jock wis aye a bittie saft. He disna ken fit's happened til him yet.' And then there was the hapless crew from Sky TV on one of their periodic visits to check Highland reactions to various news stories. Spotting a likely interviewee in Academy Street, the reporter approached and said: 'Excuse me, have you got a few words for Sky TV?' 'I have,' snapped the man. 'Stick your microphone up your nose and bugger off back to Portree.' Or what about the Banffshire congregation who welcomed a new English member and were horrified to discover that at the end of every hymn or prayer the newcomer would cry: 'Praise the Lord and Hallelujah!'? The beadle scurried up to the new man's pew and hissed: 'Jist behave yersel. We dinna praise the Lord here.' Norman Harper and Robbie Shepherd are back with a third collection of stories which show the wit and wisdom of North-east Scotland at their finest. Find out inside why the ice-skating scoring system at a Donside tournament went so badly wrong; read of the forgetful railway guard at Fyvie and how the old passenger on the Culter train was celebrating her birthday; marvel at one Buchan oilman's tip for improving your love life on holiday. It's all here, and more.
When Sir Harry Lauder left a concert on Deeside he was mystified that his kokes had not got the response received elsewhere. It perked him up when, from the spilling audience, he heard a voice say, 'Fit a gran comic. It took me aa ma time nae ti lach.' The Humour of the North-east is found at less celebrated levels too. There is the tale of the middle-aged couple who had courted each other for almost thirty years, but had never got round to marriage. One day Jock decided to voice his thoughts on the matter, for he was worried that people were speaking about their phenomenally long relationship. 'Jean,' Is it nae time the twao's were thinkin' aboot getting mairrit?' 'Behave yersel, Jock,' said Jean. 'Fa wid hae ony o's noo?' The humour and dialect of the North-east forms a unique and hilarious blend. In this book, packed with anecdotes and stories covering childhood, work, love and marriage, the kirk, the school, old age and several others, Robbie Shepherd and Norman Harper provide a fascinating tour of the wit and wisdom of the North-east of Scotland. This book, the third in the series, presents the best of the two previous volumes - A Dash o' Doric and Anither Dash o' Doric - as well as a whole range of new material, making it the best introduction to the wit and wisdom of the North-east of Scotland available.
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