The Gold Dagger Award–winning author delivers a “sophisticated, circumspect drama of revolution and political terrorism” in a former island colony (Kirkus Reviews, starred review). Engineer Steve Fraser has enjoyed his time on the island of Sunda in Southeast Asia. Having finished his job in the former Dutch colony, he’s looking forward to one last weekend in the capital before heading home. But Sunda, like so many newly independent nations, is not entirely stable. It’s a place where unforeseen incidents can radically change the lives of locals and visitors alike. Fraser thought he’d enjoy a little R&R with a Eurasian beauty named Rosalie. Instead, they’re both taken hostage by a fanatical opposition group determined to overthrow the provisional government. As the government launches a counterattack, the couple’s survival depends on their ability to dodge bullets and the shifting loyalties of the coup’s lieutenants. The Night-Comers was originally published under the title State of Siege.

Adapting a novel for cinema or television is first and foremost a business enterprise, where the screenwriter has to take into account the wishes of conflicting interest groups, including producers, stars, directors, and spectators."

A Financial Times Best Book of the Year "Brando’s Smile returns us to the power of his greatest performances." —Dan Chiasson, New York Review of Books When people think about Marlon Brando they think of the movie star, the hunk, the scandals. Here, Susan L. Mizruchi—who gained unprecedented access to Brando’s letters, audiotapes, revised screenplays, and books—reveals the complex man whose intelligence belies the high-school dropout. She shows how Brando’s embrace of foreign cultures and social outsiders led to his brilliant performances in unusual roles to test himself and to foster empathy in his audience.

For years there has been consensus about the merits of Britain’s ‘cult films’ — Peeping Tom, Witchfinder General, The Italian Job — but what of The Mark, Unearthly Stranger, The Strange Affair and The Squeeze? Revisionist critics wax lyrical over Get Carter and The Wicker Man, but what of Sitting Target, Quest for Love and The Black Panther? OFFBEAT redresses this imbalance by exploring Britain’s obscurities, curiosities and forgotten gems — from the buoyant leap in film production in the late fifties to the dying days of popular domestic cinema in the early eighties. Featuring essays, interviews and in-depth reviews, OFFBEAT provides an exhaustive, enlightening and entertaining guide through a host of neglected cinematic trends and episodes, including: • The last great British B-movies • ‘Anti-swinging sixties’ films • Sexploitation — from Yellow Teddy Bears to Emmanuelle in Soho • The British rock ‘n roll movie • CIA-funded British cartoons • Asylums in British cinema • The Children’s Film Foundation • The demise of the short as supporting feature • Val Guest, Sidney Hayers and the forgotten journeyman of British film • Swashbucklers, crime thrillers and other non-horror Hammers Now updated with more than 150 pages of new reviews and essays, featuring: • The Beatles in Colour! • The History of the AA Certificate • Ken Russell’s 1980s Films • Iris Murdoch’s A Severed Head • Curating Offbeat films in the Digital Age And much more!

An anthology of essays that deal with Witchcraft and the figure of the Witch, as they have been presented in motion pictures, television, and popular culture, in order to understand how, why, and when the common anti-Witchcraft/ anti-Witch attitude evolved. Mainstream tales of Witchcraft, including modern movies, novels, TV series, and other examples of our popular culture, more often than not express the traditional notion of a Witch as a wild, dangerous, untamable, “nasty” woman, obsessed with a desire for power to control all around her, in most narratives such a hunger presented as a negative. In truth, The Witch is a symbol of 'threatening evil' only to those men and women who accept a conservative sensibility. For members of either gender who do not, The Witch is perceived as hero and role model. This collection begins with the Biblical figure of Lilith, followed by Morgan le Fey from Arthurian legend/ myth in literature as well as in popular culture, followed by the more contemporary depictions of the Witch that start to appear in the 1960s; for example, in the Bewitched sitcom, the Star Wars franchise, Harry Potter, and even the television show Scooby-Doo. International depictions of the Witch are discussed, including Italy's Dario Argento's films, Suspiria and Inferno. The final section of this collection focuses on the most iconic depictions of the Witch produced during the 21st century, including A Discovery of Witches, Penny Dreadful, Game of Thrones and the history of the Witch in films by the Walt Disney studio, from its origins more than a century ago to the latest releases, arguing that here, if perhaps surprisingly, we discover the most fair and balanced portraits of Witches in the history of film and TV.

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This excellent new edition of The Complete Guide to Referencing and Avoiding Plagiarism will continue to demystify the referencing process and provide essential guidance on making sure you are not committing plagiarism. It provides clear guidelines on why and when to reference as well as how to correctly cite from a huge range of sources. Tackling all the main forms of referencing - Harvard, APA, MLA and Numerical referencing styles – in an accessible and comprehensive manner, you’ll want to dip into this book again and again. This new edition offers additional ‘frequently asked questions’ and answers; quotations from real students; referencing in action; exercises and quizzes to test your knowledge; more information on referencing management software; and a detailed guide to referencing electronic sources and choosing reliable internet sites. The Complete Guide to Referencing & Avoiding Plagiarism is essential reading for all students and professionals who need to use referencing to accurately reflect the work of others and avoid plagiarism.

Mastering Fear analyzes horror as play and examines what functions horror has and why it is adaptive and beneficial for audiences. It takes a biocultural approach, and focusing on emotions, gender, and play, it argues we play with fiction horror. In horror we engage not only with the negative emotions of fear and disgust, but with a wide range of emotions, both positive and negative. The book lays out a new theory of horror and analyzes female protagonists in contemporary horror from child to teen, adult, middle age, and old age. Since the turn of the millennium, we have seen a new generation of female protagonists in horror. There are feisty teens in The Vampire Diaries (2009–2017), troubled mothers in The Babadook (2014), and struggling women in the New French extremity with Martyrs (2008) and Inside (2007). At the fuzzy edges of the genre are dramas like Pan's Labyrinth (2006) and Black Swan (2010), and middle-age women are now protagonists with Carol in The Walking Dead (2010–) and Jessica Lange's characters in American Horror Story (2011–). Horror is not just for men, but also for women, and not just for the young, but for audiences of all ages.

Investigates cinematic qualities in opera and reveals why Benjamin Britten's operas lend themselves to TV and film interpretations. Benjamin Britten's 1954 opera The Turn of the Screw, based on Henry James's ghost story, has been described by many critics and commentators as cinematic. Along with Peter Grimes, The Turn of the Screw is one of the most frequently televised or filmed of Britten's operas. Some of these productions have used location footage and/or studio work, and others are based on theatrical settings. This book explores the notion of cinematic opera in the context of The Turn of the Screw and filmed opera in general, and questions what inherent cinematic qualities exist in the work which make it particularly conducive for screen interpretation, an aspect of Britten's compositional style which has rarely been examined in detail before. Contrary to the prevailing narrative around Britten's disdain for cinema and television, the composer engaged with film as both a cinemagoer and film music composer early in his career and these experiences informed his compositional and dramatic choices. Archival research reveals clues to the composer's adaptation process. By tracing the progress from Henry James's original novella to operatic stage and screen production, via the development of Myfanwy Piper's libretto and Britten's score, the journey of adaptation is discussed in detail. A key part of the book looks at the subsequent interpretation of the opera on screen. Case studies evaluate eight directors' interpretations of the opera ranging from 1959 up to the 2020s. Included is a special study of Peter Morley's 1959 ITV version, which had previously been thought lost. This reveals the roots of Britten's subsequent engagement with screen media, culminating in his television opera Owen Wingrave. The book also briefly explores the influence of cinema on stage productions of the opera which have not been filmed.