From the author of Quaternity: “The story of an immortal champion in an American West that never was, and so is all the truer for it” (Richard Parks, author of The Long Look). Thermopylae. Masada. Agincourt. And now, Haxan, New Mexico Territory, circa 1874. Through a sea of time and dust, in places that might never be, or can’t become until something is set right, there are people destined to travel. Forever. Marshal John Marwood is one of these men. Taken from a place he called home, he is sent to fight an eternal war. It never ends, because the storm itself, this unending conflict, makes the world we know a reality. Along with all the other worlds waiting to be born. Or those that were born, but died like a guttering candle in eternal night . . . The first in a series, Haxan is Lonesome Dove meets The Punisher—real, gritty, violent, and blatantly uncompromising. “A mixture of western and urban fantasy, with a cold, moody atmosphere that makes us want to put on a sweater. The author leaves the door open for a sequel, but, given the kind of life Marwood lives, it could be set anywhere, or anytime.” —Booklist

Benjamin Christensen's macabre masterpiece from 1922, H¢xan (The Witch), is the first true `film maudit' (literally a `cursed film') and can justifiably be considered the world's first cult movie. Greeted by angry protests upon release, it was censored, banned and condemned everywhere. Was H¢xan the first and most perverse exploitation film, replete with Satanic debauchery, or the original classic of documentary cinema? Who was this mysterious man, Benjamin Christensen, and what really drove him to create this extraordinary epic?

Beginning in 1976 with the first issue of the journal Studies in Medievalism, all things medieval and the concept of medievalism became a hot topic in culture studies. Medievalism examines how different groups, individuals, or eras use and shape the image of the Middle Ages, differentiating between historical knowledge of the Middle Ages and what we have made the period out to be. The 13 essays in this book explore the medieval invasion of today's media and consider the various ways--from film and print to websites and video games--that the Middle Ages have been packaged for consumption. Essays encompass diverse theoretical perspectives and are grouped loosely around distinct functions of medievalism, including the exposure of recent social concerns; the use of medieval images in modern political contexts; and the medieval's influence on products of today's popular culture. The legitimization of the study of medievalism and the effect of medievalism on the more traditional subject of medieval studies are also discussed. Instructors considering this book for use in a course may request an examination copy here.

"I have to tell you something. I did something bad." Fifteen years ago, Blair's best friend Molly was murdered. Fifteen years ago, Adrian Jones went to prison for it. Fifteen years ago, the real killer got away with it. And now, Blair's terminally ill sister has made a devastating deathbed confession, which could prove that the wrong man has been imprisoned for years - and that Molly's killer is still out there. Blair's determined to find him, but the story behind Molly's death is more twisted than she could imagine. If she isn't careful, the killer will ensnare her and bury Blair with his secret.

Secret, strange, dark, impure and dissonant...Enter the haunted landscapes of folk horror, a world of ­pagan ­village conspiracies, witch finders, and teenagers awakening to evil; of dark fairy tales, backwoods cults and obsolete technologies. Beginning with the classics Night of the Demon, Witchfinder General, The Wicker Man and Blood on Satan's Claw, We Don't Go Back surveys the genre of screen folk horror from across the world. Travelling from Watership Down to The Texas Chain Saw Massacre, with every stop inbetween, We Don't Go Back is a thoughtful, funny and essential overview of folk horror in TV and cinema."A beautiful rumination on the dark films and television that shaped me and a generation of odd children, for good or ill, worth a year of your time, because you won't just read the book, you'll feel a burning desire to watch everything mentioned within." - Robin Ince"A comprehensive, accessible and often riotously funny tome weaving together folk horror in all its forms, from British television to the American backwoods, from Eastern European fairytales to the vengeful ghosts of East Asia. Ingham explores uncanny landscapes haunted by things buried, old cultures converging with the reluctance of contemporary reason, that very tension that gives his book its name. He attempts to both define folk horror and free it from definition, creating the ultimate guide to the genre's manifestations on film and offering a convincing argument as to why the genre resonates so compellingly with people today." - Kier-La Janisse, author of House of Psychotic Women

"Wonderfully practical....just what every media writer needs." Christopher H. Sterling George Washington University * Learn what it takes to write for commercials, news, documentaries, corporate, educational, animation, games, the internet, and dramatic film & video productions * Outlines the key skills needed for a successful media writing career The demand for quality and knowledgeable multi-platform writing is always in high demand. An Introduction to Writing for Electronic Media presents a survey of the many types of electronic media you can write for, and explains how to do it. Musburger focuses on the skills you need to write for animation versus radio or television news versus corporate training. Sample scripts help you learn by example while modeling your own scripts. Production files illustrate the integral role writers' play in the production process, and individual movie frames allow you compare these to the real scripts. Armed with the skills developed in this book, a media writer can apply for a variety of positions in newsrooms, advertising firms, motion pictures or animation studios, as well as local and national cable operations. Robert B. Musburger, Ph.D., is Professor Emeritus and former Director of the School of Communication, University of Houston, USA. He has worked for 20 years in professional broadcasting, serving as camera operator, director, producer, and writer. Musburger has received numerous awards for his video work and teaching and he continues to work in electronic media with his Seattle, WA,. consulting firm, Musburger Media Services. "[An] authoritative and clearly written description of the processes involved in writing for film, radio and television production." Raymond Fielding, Dean Emeritus Florida State University

Benjamin Christensen’s Häxan (The Witch, 1922) stands as a singular film within the history of cinema. Deftly weaving contemporary scientific analysis and powerfully staged historical scenes of satanic initiation, confession under torture, possession, and persecution, Häxan creatively blends spectacle and argument to provoke a humanist re-evaluation of witchcraft in European history as well as the contemporary treatment of female “hysterics” and the mentally ill. In Realizing the Witch, Baxstrom and Meyers show how Häxan opens a window onto wider debates in the 1920s regarding the relationship of film to scientific evidence, the evolving study of religion from historical and anthropological perspectives, and the complex relations between popular culture, artistic expression, and concepts in medicine and psychology. Häxan is a film that travels along the winding path of art and science rather than between the narrow division of “documentary” and “fiction.” Baxstrom and Meyers reveal how Christensen’s attempt to tame the irrationality of “the witch” risked validating the very "nonsense" that such an effort sought to master and dispel. Häxan is a notorious, genre-bending, excessive cinematic account of the witch in early modern Europe. Realizing the Witch not only illustrates the underrated importance of the film within the canons of classic cinema, it lays bare the relation of the invisible to that which we cannot prove but nevertheless “know” to be there.