Offering a comprehensive account of one of the world's richest literatures, A History of English Literature traces its developments from the Old English period until the present day. A narrative which is also a discussion of major authors, the history reads as a clear and coherent whole.

     Much has been written about the storied New Hollywood of the 1970s, but at the same time as Martin Scorsese, Steven Spielberg, and Francis Ford Coppola were making their first classic movies, a parallel universe of directors gave birth to the modern horror film-aggressive, raw, and utterly original. Based on unprecedented access to the genre's major players, The New York Times's critic Jason Zinoman's Shock Value delivers the first definitive account of horror's golden age. By the late 1960s, horror was stuck in the past, confined mostly to drive-in theaters and exploitation houses, and shunned by critics. Shock Value tells the unlikely story of how the much-disparaged horror film became an ambitious art form while also conquering the multiplex. Directors such as Wes Craven, Roman Polanski, John Carpenter, and Brian De Palma- counterculture types operating largely outside the confines of Hollywood-revolutionized the genre, exploding taboos and bringing a gritty aesthetic, confrontational style, and political edge to horror. Zinoman recounts how these directors produced such classics as Rosemary's Baby, Carrie, The Texas Chainsaw Massacre, and Halloween, creating a template for horror that has been imitated relentlessly but whose originality has rarely been matched. This new kind of film dispensed with the old vampires and werewolves and instead assaulted audiences with portraits of serial killers, the dark side of suburbia, and a brand of nihilistic violence that had never been seen before. Shock Value tells the improbable stories behind the making of these movies, which were often directed by obsessive and insecure young men working on shoestring budgets, were funded by sketchy investors, and starred porn stars. But once The Exorcist became the highest grossing film in America, Hollywood took notice. The classic horror films of the 1970s have now spawned a billion-dollar industry, but they have also penetrated deep into the American consciousness. Quite literally, Zinoman reveals, these movies have taught us what to be afraid of. Drawing on interviews with hundreds of the most important artists in horror, Shock Value is an enthralling and personality-driven account of an overlooked but hugely influential golden age in American film.

    In the late 1990s and early 2000s, the landscape of television began an unprecedented transformation. While the networks continued to chase the lowest common denominator, a wave of new shows, first on premium cable channels like HBO and then basic cable networks like FX and AMC, dramatically stretched television’s narrative inventiveness, emotional resonance, and artistic ambition. No longer necessarily concerned with creating always-likable characters, plots that wrapped up neatly every episode, or subjects that were deemed safe and appropriate, shows such as The Wire, The Sopranos, Mad Men, Deadwood, The Shield, and more tackled issues of life and death, love and sexuality, addiction, race, violence, and existential boredom. Just as the Big Novel had in the 1960s and the subversive films of New Hollywood had in 1970s, television shows became the place to go to see stories of the triumph and betrayals of the American Dream at the beginning of the twenty-first century. This revolution happened at the hands of a new breed of auteur: the all-powerful writer-show runner. These were men nearly as complicated, idiosyncratic, and “difficult” as the conflicted protagonists that defined the genre. Given the chance to make art in a maligned medium, they fell upon the opportunity with unchecked ambition. Combining deep reportage with cultural analysis and historical context, Brett Martin recounts the rise and inner workings of a genre that represents not only a new golden age for TV but also a cultural watershed. Difficult Men features extensive interviews with all the major players, including David Chase (The Sopranos), David Simon and Ed Burns (The Wire), Matthew Weiner and Jon Hamm (Mad Men), David Milch (NYPD Blue, Deadwood), and Alan Ball (Six Feet Under), in addition to dozens of other writers, directors, studio executives, actors, production assistants, makeup artists, script supervisors, and so on. Martin takes us behind the scenes of our favorite shows, delivering never-before-heard story after story and revealing how cable TV has distinguished itself dramatically from the networks, emerging from the shadow of film to become a truly significant and influential part of our culture.

    When an epidemic hits, the EIS will be there to crack the case, however mysterious or deadly, saving countless lives in the process. Over the years they have successfully battled polio, cholera, and smallpox, to name a few, and in recent years have turned to the epidemics killing us now--smoking, obesity, and gun violence among them.The successful EIS model has spread internationally: former EIS officers on the staff of the Centers for Disease Control have helped to establish nearly thirty similar programs around the world. EIS veterans have gone on to become leaders in the world of public health in organizations such as the World Health Organization."Inside the Outbreaks" takes readers on a riveting journey through the history of this remarkable organization, following Epidemic Intelligence Service officers on their globetrotting quest to eliminate the most lethal and widespread threats to the world's health.

    Universal Studios Monsters: A Legacy of Horror explores all of these enduring characters, chronicling both the mythology behind the films and offering behind-the-scenes insights into how the films were created. Universal Studios Monsters is the most complete record of the horror films of this legendary studio, with biographies of major personalities who were responsible for the most notable monster melodramas in film history. The stories of these films and their creators are told through interviews with surviving actors and studio employees. A lavish photographic record, including many behind-the-scenes shots, completes the story of how these classics were made. This is a volume no fan of imaginative cinema will want to be without.

    It was America in the 1950s, and the world was not so much a stage as a setpiece for TV, the new national phenomenon. It was a decade of design, a time when how things looked - and how we looked - mattered. This text portrays a visual culture reflecting and reflected in the powerful new medium of television. Looking closely at a number of celebrated instances in which the principles of design dominated the public arena and captivated the popular imagination, Karal Ann Marling gives us an in-depth picture of the taste and sensibility of the postwar era.

    But they also breathe a sigh of relief when the action is over, when they are able to close their books or leave the movie theater. Whether serious, kitschy, frightening, or ridiculous, horror not only arouses the senses but also raises profound questions about fear, safety, justice, and suffering. From literature and urban legends to film and television, horror's ability to thrill has made it an integral part of modern entertainment. Thomas Fahy and twelve other scholars reveal the underlying themes of the genre in The Philosophy of Horror. Examining the evolving role of horror, the contributing authors investigate works such as Mary Shelley's Frankenstein (1818), horror films of the 1930s, Stephen King's novels, Stanley Kubrick's adaptation of The Shining (1980), and Alfred Hitchcock's Psycho (1960). Also examined are works that have largely been ignored in philosophical circles, including Truman Capote's In Cold Blood (1965), Patrick S�skind's Perfume (1985), and James Purdy's Narrow Rooms (2005). The analysis also extends to contemporary forms of popular horror and "torture-horror" films of the last decade, including Saw (2004), Hostel (2005), The Devil's Rejects (2005), and The Hills Have Eyes (2006), as well as the ongoing popularity of horror on the small screen. The Philosophy of Horror celebrates the strange, compelling, and disturbing elements of horror, drawing on interpretive approaches such as feminist, postcolonial, Marxist, and psychoanalytic criticism. The book invites readers to consider horror's various manifestations and transformations since the late 1700s, probing its social, cultural, and political functions in today's media-hungry society.

    As an untried medical student studying the intersection of global health and communicable disease, Donaldson soon found himself in dangerous Sierra Leone, on the border of war-struck Liberia, where he struggled to control the spread of Lassa Fever. The words, “you know Lassa can kill you, don’t you?” haunted him each day. With the country in complete upheaval and working conditions suffering, he is forced to make life-and-death decisions alone as a never-ending onslaught of contagious patients flood the hospital. Soon however, he is not only fighting for others but himself when he becomes afflicted with a life threatening disease. The Lassa Ward is more than just an adventure story about the making of a physician; it is a portrait of the Sierra Leone people and the human struggle of those risking their daily comforts and lives to aid them.

    Loved by fans and reviled by critics for its iconic psychopaths, gory special effects, brainless teenagers in peril, and more than a bit of soft-core sex, the slasher film secured its legacy as a cultural phenomenon and continues to be popular today. This work traces the evolution of the slasher film from 1978 when it was a fledgling genre, through the early 1980s when it was one of the most profitable and prolific genres in Hollywood, on to its decline in popularity around 1986. An introduction provides a brief history of the Grand Guignol, the pre-cinema forerunner of the slasher film, films such as Psycho and The Texas Chainsaw Massacre, and cinematic trends that gave rise to the slasher film. Also explained are the slasher film's characteristics, conventions, and cinematic devices, such as the "final girl," the omnipotent killer, the relationship between sex and death, the significant date or setting, and the point-of-view of the killer. The chapters that follow are devoted to the years 1978 through 1986 and analyze significant films from each year. The Toolbox Murders, When a Stranger Calls, the Friday the 13th movies, My Bloody Valentine, The Slumber Party Massacre, Psycho II, and April Fool's Day are among those analyzed. The late 90s resurrection of slasher films, as seen in Scream and I Know What You Did Last Summer, is also explored, as well as the future direction of slasher films.

    Since first airing in 1987 as a cartoon interlude on the short-lived "Tracey Ullman Show," "The Simpsons" has deliciously skewered the foibles of American life, evolving into a cultural institution that reaches across the generations. As satire, it's sharp and funny. As a pop phenom, it's in a league of its own. And with Planet Simpson, it finally gets the sprawling, multidimensional critical look it so richly deserves. "Smart and funny, Turner writes with fitting enthusiasm for his subject while working in seemly references to cultural theory and TV-insider politics. His book is just the thing for fellow fans, and for anyone interested in how pop phenomena came to be." -Hollywood Reporter This book was not prepared, licensed, approved, or endorsed by any entity involved in creating or producing the television series "The Simpsons."

    Cinema is full of neurotic personalities, but few things are more transfixing than a woman losing her mind onscreen. Horror as a genre provides the most welcoming platform for these histrionics: crippling paranoia, desperate loneliness, masochistic death-wishes, dangerous obsessiveness, apocalyptic hysteria. Unlike her male counterpart - 'the eccentric' - the female neurotic lives a shamed existence, making these films those rare places where her destructive emotions get to play. Named after the U.S.-retitling of Carlos Aured's The Blue Eyes of the Broken Doll, House of Psychotic Women is an examination of these characters through a daringly personal autobiographical lens. Anecdotes and memories interweave with film history, criticism, trivia and confrontational imagery to create a reflective personal history and an examination of female madness, both onscreen and off. This sharply-designed book with a 32-page full-colour section is packed with rare stills, posters, pressbooks and artwork that combine with family photos and artifacts to form a titillating sensory overload, with a filmography that traverses the acclaimed and the obscure in equal measure. Films covered include The Entity, The Corruption of Chris Miller, Singapore Sling, 3 Women, Toys Are Not for Children, Repulsion, Let's Scare Jessica to Death, The Haunting of Julia, Secret Ceremony, Cutting Moments, Out of the Blue, Mademoiselle, The Piano Teacher, Possession, Antichrist and hundreds more!

    Boorstin’s prophetic vision of an America inundated by its own illusions has become an essential resource for any reader who wants to distinguish the manifold deceptions of our culture from its few enduring truths.Cover design by Matt Dorfman.

    Deeply researched revelation of escalating danger of drug-resistant bacteria, MRSA.

    From classic Hollywood masterpieces like M (1931) to the recent “torture porn” craze with flicks like the Saw franchise, this collection gives a master’s overview of the genre.

    Using a layout style that was later copied by Wired, McLuhan and coauthor/designer Quentin Fiore combine word and image to illustrate and enact the ideas that were first put forward in the dense and poorly organized Understanding Media. McLuhan's ideas about the nature of media, the increasing speed of communication, and the technological basis for our understanding of who we are come to life in this slender volume. Although originally printed in 1967, the art and style in The Medium is the Massage seem as fresh today as in the summer of love, and the ideas are even more resonant now that computer interfaces are becoming gateways to the global village.