Böcker av Martin Barker

The British "horror comics" campaign of the 1950s reveals the inadequacy of some conventional assessments of anti-media panics. In showing a curious gap between the private concerns of the campaigners and their public rhetoric, A Haunt of Fears raises serious questions about the state of British culture during this era.

Everybody analyses films. Ordinary viewers, chatting on the way home afterwards. Reviewers, telling us just enough to tempt or put off. Critics, 'situating' films for us. Moralists, hunting for the (harmful) message. So what exactly is it that film academics do that's different?*BR**BR*Martin Barker and Thomas Austin provide a jargon-free, accessible and student-friendly introduction to film analysis. They begin with a discussion about audience and a detailed case-study on four conflicting analyses of Capra's It's A Wonderful Life. The authors examine a range of popular Hollywood films in a variety of genres, including Titanic, Deep Impact, Sleepless in Seattle, The Lion King, Starship Troopers and The Usual Suspects, and provide vivid demonstrations of what can and can't be achieved with close textual analysis. The book ends by proposing a list of measures for assessing the adequacy of film analyses: measures intended to lay the basis of a way of doing film analysis which goes beyond theoretically predetermined and often obscurantist assertions.*BR**BR*Explicitly rejecting much of the theoretical baggage that dogs contemporary film analysis, Barker and Austin strip the subject down to its bare essentials. The result is a provocative and timely re-examination of many of the basic tenets in film theory and analysis.

Over the last five years, a cycle of films has emerged addressing the ongoing Iraq conflict. Some became well-known and one of them, The Hurt Locker, won a string of Oscars. But many others disappeared into obscurity. What is it about these films that led Variety to dub them a 'toxic genre'?*BR**BR*Martin Barker analyses the production and reception of these recent Iraq war films. Among the issues he examines are the borrowing of soldiers' YouTube styles of self-representation to generate an 'authentic' Iraq experience, and how they take refuge in 'apolitical' post-traumatic stress disorder. Barker also looks afresh at some classic issues in film theory: the problems of accounting for film 'failures', the shaping role of production systems, the significance of genre-naming and the impact of that 'toxic' label.*BR**BR*A 'Toxic Genre' is fascinating reading for film studies students and anyone interested in cinema's portrayal of modern warfare.

A collection that brings together a reassessment of important cultural studies texts such as Hebdige's "Subculture" and Modleski's "Loving with a Vengeance" .