Judd Winick

Mike McKone

Mark McKenna

Down the Rabbit Hole (Astonishing X-Men)

Exiles Vol. 1

William Proctor

"This book explores horror film franchising from a broad range of interdisciplinary perspectives and considers the horror film's role in the history of franchising and serial fiction. Comprising twelve chapters written by established and emerging scholars in the field, Horror Franchise Cinema redresses critical neglect towards horror film franchising by discussing the forces and factors governing its development across historical and contemporary terrain while also examining text and reception practices. Offering an introduction to the history of horror franchising, the chapters also examine key texts including Universal Studio monster films, Blumhouse production films, The Texas Chainsaw Massacre, A Nightmare on Elm Street, Alien, I Spit on Your Grave, Let the Right One In, Italian zombie films, anthology films, and virtual reality. A significant contribution to studies of horror cinema and film/media franchising from the 1930s to present day, this book will be of interest to students and scholars of film studies, media and cultural studies, franchise studies, political economy, audience/reception studies, horror studies, fan studies, genre studies, production cultures, and film histories"--

Horror Franchise Cinema

" In March 1797, five British sailors and 12 Bengali seamen struggled ashore after their longboat broke apart in a storm. Their fellow-survivors from the wreck of the Sydney Cove were stranded more than 500 kilometres southeast in Bass Strait. To rescue their mates and to save themselves the 19 men must walk 700 kilometres north to Sydney. That remarkable walk is a story of endurance but also of unexpected Aboriginal help. From the Edge- Australia's Lost Histories recounts four such extraordinary and largely forgotten stories- the walk of shipwreck survivors; the founding of a 'new Singapore' in western Arnhem Land in the 1840s; Australia's largest industrial development project nestled amongst outstanding Indigenous rock art in the Pilbara; and the ever-changing story of James Cook's time in Cooktown in 1770. This new telling of the central drama of Australian history ;the encounter between Aboriginal and non-Aboriginal Australians, may hold the key to understanding this land and its people. "

Australia's Lost Histories

From the Edge

When Mark McKenna set out to write a history of the centre of Australia, he had no idea what he would discover. One event in 1934 - the shooting at Uluru of Aboriginal man Yokunnuna by white policeman Bill McKinnon, and subsequent Commonwealth inquiry - stood out as a mirror of racial politics in the Northern Territory at the time. But then, through speaking with the families of both killer and victim, McKenna unearthed new evidence that transformed the historical record and the meaning of the event for today. As he explains, 'Every thread of the story connected to the present in surprising ways.' In a sequence of powerful revelations, McKenna explores what truth-telling and reconciliation look like in practice. Return to Uluru brings a cold case to life. It speaks directly to the Black Lives Matter movement, but is completely Australian. Recalling Chloe Hooper's The Tall Man, it is superbly written, moving, and full of astonishing, unexpected twists. Ultimately it is a story of recognition and return, which goes to the very heart of the country. At the centre of it all is Uluru, the sacred site where paths fatefully converged. 'I feel sure that it will become an Australian classic, not the first of its kind, but certainly the most powerful narrative I have read of frontier injustice and its resonance in our lives today.'-Marcia Langton

Return to Uluru

Dan Abnett

John Higgins

Andy Lanning

Scarlet Witch

"THIS WEEK'S HOTTEST NEW RELEASES: Murder befouls the outback... [A] gripping work of true crime." —USA TODAY Return to Uluru explores a cold case that strikes at the heart of white supremacy—the death of an Aboriginal man in 1934; the iconic life of a white, "outback" police officer; and the continent's most sacred and mysterious landmark. Inside Cardboard Box 39 at the South Australian Museum’s storage facility lies the forgotten skull of an Aboriginal man who died eighty-five years before. His misspelled name is etched on the crown, but the many bones in boxes around him remain unidentified. Who was Yokununna, and how did he die? His story reveals the layered, exploitative white Australian mindset that has long rendered Aboriginal reality all but invisible. When policeman Bill McKinnon’s Aboriginal prisoners escape in 1934, he’s determined to get them back. Tracking them across the so called "dead heart" of the country, he finds the men at Uluru, a sacred rock formation. What exactly happened there remained a mystery, even after a Commonwealth inquiry. But Mark McKenna’s research uncovers new evidence, getting closer to the truth, revealing glimpses of indigenous life, and demonstrating the importance of this case today. Using McKinnon’s private journal entries, McKenna paints a picture of the police officer's life to better understand how white Australians treat the center of the country and its inhabitants. Return to Uluru dives deeply into one cold case. But it also provides a searing indictment of the historical white supremacy still present in Australia—and has fascinating, illuminating parallels to the growing racial justice movements in the United States.

The Hidden History of a Murder in Outback Australia

Snuff (1976) occupies a unique place in cinematic history, as the first commercially successful film to capitalise upon the myth of the ‘snuff’ movie. By blending cinema verité styling with a media moral panic, savvy producer Allan Shackleton’s blending of a long-forgotten exploitation film with a newly filmed bloody, if unconvincing conclusion, only served to consolidate the belief that somewhere, at some time, someone was killed on camera in an attack that was as much about the sexual gratification of the film’s intended audience, as it was about the commercial rewards for those producing the film. In the years since its release, the film has been routinely cited as ‘evidence’ of the snuff movie’s existence, contributing to a cultural history that exists outside of the film. This book explores the production, distribution and exhibition of the film Snuff, alongside that cultural history, considering how a scarcely seen exploitation film contributed to a popular understanding of the snuff movie. It assesses the cultural, cinematic and political legacy of the film and asks whether the established definition of what might constitute a snuff movie, that was defined 45 years ago, is sufficient in an attention economy that is based upon participatory culture.

Snuff

"The Word Gang" is the story of three kids in school who start using big words to be disruptive. Kalisha Jackson is a girl with a stomach-churning secret - she cut school for a year and never got caught! A new year begins. Kalisha decides to go back to school. While waiting for the bus she sees an old man struggling with a cart full of groceries. She stops to help and meets Albrecht Spinoza, a man who can speak seventeen languages, but who's had no one to talk to since the death of his beloved wife, Rosa. Kalisha is late the first day setting off a conflict with her teacher, Jack Ralston. She's been stuck in something called "Project Restart," a strange new program in which the penalty for not doing well is a special classroom in Juvenile Hall. Mr. Spinoza gives Kalisha a copy of the Compact Oxford Dictionary. But the more "big" words Kalisha learns, the less everyone understands her and the madder Jack Ralston seems to get. Which to Kalisha and her new friends sounds like fun - and a great way to destroy Project Restart! That is, if they don't get "trammeled," "proscribed," or "incarcerated," first.

The Word Gang

Manning Clark was a complex, demanding and brilliant man. Mark McKenna's compelling biography of this giant of Australia's cultural landscape is informed by his reading of Clark's extensive private letters, journals and diaries-many that have never been read before. An Eye for Eternity paints a sweeping portrait of the man who gave Australians the signature account of their own history. It tells of his friendships with Patrick White and Sidney Nolan. It details an urgent and dynamic marriage, ripped apart at times by Clark's constant need for extramarital romantic love. A son who wrote letters to his dead parents. A historian who placed narrative ahead of facts. A doubter who flirted with Catholicism. A controversial public figure who marked slights and criticisms with deeply held grudges. To understand Clark's life is to understand twentieth century Australia. And it raises fundamental questions about the craft of biography. When are letters too personal, comments too hurtful and insights too private to publish? Clark incessantly documented his life-leaving notes to the biographers he knew would pursue his story. He had a deep need to be remembered and this book means he will now be understood in an unforgettable way. Winner of the Prime Minister's Literary Award for Non-Fiction 2012 Winner of the Non-Fiction Book award at the Victorian Premier's Literary Awards 2012 Winner of the Non-Fiction Book award at the Queensland Premier's Literary Awards 2012 Winner of the Douglas Stewart Prize at the NSW Premier's Literary Awards 2012 Winner of the Adelaide Festival Awards for Literature 2012 - Non-Fiction award 2012 Finalist for the 2011 Walkley Book awards Shortlisted for the 2011 Manning Clark House National Cultural Award

The Life of Manning Clark

An Eye for Eternity

Blackfella's Point lies on the Towamba River in south-eastern New South Wales. This work is a history for every Australian who is interested in the story of settler-Australia's relations with indigenous people, what happened between them, and how they came to confront the truth about their past.

An Australian History of Place

Looking for Blackfellas' Point

In March 1797, five British sailors and 12 Bengali seamen struggled ashore after their longboat broke apart in a storm. Their fellow-survivors from the wreck of the Sydney Cove were stranded more than 500 kilometres southeast in Bass Strait. To rescue their mates and to save themselves the 19 men must walk 700 kilometres north to Sydney. That remarkable walk is a story of endurance but also of unexpected Aboriginal help. From the Edge: Australia's Lost Histories recounts four such extraordinary and largely forgotten stories: the walk of shipwreck survivors; the founding of a 'new Singapore' in western Arnhem Land in the 1840s; Australia's largest industrial development project nestled amongst outstanding Indigenous rock art in the Pilbara; and the ever-changing story of James Cook's time in Cooktown in 1770. This new telling of the central drama of Australian history ;the encounter between Aboriginal and non-Aboriginal Australians, may hold the key to understanding this land and its people.

When Mark McKenna set out to write a history of the centre of Australia, he had no idea what he would discover. One event in 1934 - the shooting at Uluru of Aboriginal man Yokunnuna by white policeman Bill McKinnon, and subsequent Commonwealth inquiry - stood out as a mirror of racial politics in the Northern Territory at the time. But then, through speaking with the families of both killer and victim, McKenna unearthed new evidence that transformed the historical record and the meaning of the event for today.

When Mark McKenna set out to write a history of the centre of Australia, he had no idea what he would discover. One event in 1934 -- the shooting at Uluru of Aboriginal man Yokunnuna by white policeman Bill McKinnon, and subsequent Commonwealth inquiry -- stood out as a mirror of racial politics in the Northern Territory at the time. But then, through speaking with the families of both killer and victim, McKenna unearthed new evidence that transformed the historical record and the meaning of the event for today. As he explains, 'Every thread of the story connected to the present in surprising ways.' In a sequence of powerful revelations, McKenna explores what truth-telling and reconciliation look like in practice. Return to Uluru brings a cold case to life. It speaks directly to the Black Lives Matter movement, but is completely Australian. Recalling Chloe Hooper's The Tall Man, it is superbly written, moving, and full of astonishing, unexpected twists. Ultimately it is a story of recognition and return, which goes to the very heart of the country. At the centre of it all is Uluru, the sacred site where paths fatefully converged.

Return to Uluru explores the cold case that strikes at the heart of Australia’s white supremacy—the death of an Aboriginal man in 1934; the iconic life of a white, "outback" police officer; and the continent's most sacred and mysterious landmark. Inside Cardboard Box 39 at the South Australian Museum’s storage facility lies the forgotten skull of an Aboriginal man who died eighty-five years before. His misspelled name is etched on the crown, but the many bones in boxes around him remain unidentified. Who was Yokununna, and how did he die? His story reveals the layered, exploitative white Australian mindset that has long rendered Aboriginal reality all but invisible. When policeman Bill McKinnon’s Aboriginal prisoners escape in 1934, he’s determined to get them back. Tracking them across the so called "dead heart" of the country, he finds the men at Uluru, a sacred rock formation. What exactly happened there remained a mystery, even after a Commonwealth inquiry. But Mark McKenna’s research uncovers new evidence, getting closer to the truth, revealing glimpses of indigenous life, and demonstrating the importance of this case today. Using McKinnon’s private journal entries, McKenna paints a picture of the police officer's life to better understand how white Australians treat the center of the country and its inhabitants. Return to Uluru dives deeply into one cold case. But it also provides a searing indictment of the historical white supremacy still present in Australia—and has fascinating, illuminating parallels to the growing racial justice movements in the United States.

This book explores horror film franchising from a broad range of interdisciplinary perspectives and considers the horror film’s role in the history of franchising and serial fiction. Comprising 12 chapters written by established and emerging scholars in the field, Horror Franchise Cinema redresses critical neglect toward horror film franchising by discussing the forces and factors governing its development across historical and contemporary terrain while also examining text and reception practices. Offering an introduction to the history of horror franchising, the chapters also examine key texts including Universal Studio monster films, Blumhouse production films, The Texas Chainsaw Massacre, A Nightmare on Elm Street, Alien, I Spit on Your Grave, Let the Right One In, Italian zombie films, anthology films, and virtual reality. A significant contribution to studies of horror cinema and film/media franchising from the 1930s to the present day, this book will be of interest to students and scholars of film studies, media and cultural studies, franchise studies, political economy, audience/reception studies, horror studies, fan studies, genre studies, production cultures, and film histories.

Snuff (1976) occupies a unique place in cinematic history, as the first commercially successful film to capitalise upon the myth of the 'snuff' movie. By blending cinema verité styling with a media moral panic, savvy producer Allan Shackleton's blending of a long-forgotten exploitation film with a newly filmed bloody, if unconvincing conclusion, only served to consolidate the belief that somewhere, at some time, someone was killed on camera in an attack that was as much about the sexual gratification of the film's intended audience, as it was about the commercial rewards for those producing the film. In the years since its release, the film has been routinely cited as 'evidence' of the snuff movie's existence, contributing to a cultural history that exists outside of the film. This book explores the production, distribution and exhibition of the film Snuff, alongside that cultural history, considering how a scarcely seen exploitation film contributed to a popular understanding of the snuff movie. It assesses the cultural, cinematic and political legacy of the film and asks whether the established definition of what might constitute a snuff movie, that was defined 45 years ago, is sufficient in an attention economy that is based upon participatory culture.

Dave Ross

Alexander Freed

After hundreds of years, the Sith Empire has returned to the galaxy, determined to crush the Republic that sent them into exile. For young Sith Teneb Kel, it is his only chance to rise above his lowly beginnings as a slave and prove his worth to the Dark Council.

Blood of the Empire

Benjamin Thomas Jones

It's time for some straight talking about Australia's future as a republic. A republic is the key to our national renewal: we need a head of state who shares a genuine affinity with our country rather than an outdated historical link. We can love the Queen -- and be excited about the royal baby -- yet still decide to make it on our own. Australians today have a chance to decide what we want our country to be, and for a home -- grown head of state to lend an Australian dignity to the highest office in our land. Project Republic unites a diverse range of Australian voices to offer a fresh perspective on why Australia must become a republic -- and how we get there from here. Contributors include Larissa Behrendt, John Hirst, Thomas Keneally, Helen Irving, Julian Morrow and John Warhurst.

Plans and Arguments for a New Australia

Project Republic

A killing. A hidden history. A story that goes to the heart of the nation. When Mark McKenna set out to write a history of the centre of Australia, he had no idea what he would discover. One event in 1934 – the shooting at Uluru of Aboriginal man Yokunnuna by white policeman Bill McKinnon, and subsequent Commonwealth inquiry – stood out as a mirror of racial politics in the Northern Territory at the time. But then, through speaking with the families of both killer and victim, McKenna unearthed new evidence that transformed the historical record and the meaning of the event for today. As he explains, ‘Every thread of the story connected to the present in surprising ways.’ In a sequence of powerful revelations, McKenna explores what truth-telling and reconciliation look like in practice. Return to Uluru brings a cold case to life. It speaks directly to the Black Lives Matter movement, but is completely Australian. Recalling Chloe Hooper’s The Tall Man, it is superbly written, moving, and full of astonishing, unexpected twists. Ultimately it is a story of recognition and return, which goes to the very heart of the country. At the centre of it all is Uluru, the sacred site where paths fatefully converged. ‘Mark McKenna has exposed the wounded heart of Australia. Never has a history of our country so assumed the power of sacred myth. Return to Uluru is a spellbinding story of death and resurrection that is Australian to its core.’ —James Boyce ‘Mark McKenna sets the highest standard for truth-telling of the kind that Australians so urgently need if they are to live in this country with honour. I feel sure that this book will become an Australian classic, not the first of its kind, but certainly the most powerful narrative I have read of frontier injustice and its resonance in our lives today.’ —Marcia Langton

Australia is on the brink of momentous change, but only if its citizens and politicians can come to new terms with the past. In this inspiring essay, Mark McKenna considers the role of history in making and unmaking the nation. From Captain Cook to the frontier wars, from Australia Day to the Uluru Statement, we are seeing fresh debates and recognitions. McKenna argues that it is time to move beyond the history wars, and that truth-telling about the past will be liberating and healing. This is an urgent essay about a nation’s moment of truth. ‘The time for pitting white against black, shame against pride, and one people’s history against another’s, has had its day. After nearly fifty years of deeply divisive debates over the country’s foundation and its legacy for Indigenous Australians, Australia stands at a crossroads – we either make the commonwealth stronger and more complete through an honest reckoning with the past, or we unmake the nation by clinging to triumphant narratives in which the violence inherent in the nation’s foundation is trivialised.’ —Mark McKenna, Moment of Truth

Mark McKenna

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