Lock, Stock and Two Smoking Barrels, the high-octane East-End gangster comedy thriller, the number one British movie of 1998, is presented here in novel form. It is the story of a heist that goes spectacularly wrong.

The world of the small-time Soho gangster is opened by with sharply funny writing and plenty of action in this novel based on the Channel 4 series.

Press kit includes 1 pamphlet and 3 photographs.

When Lock, Stock and Two Smoking Barrels was released in 1998, few would have prophesied quite the impact this low-budget crime comedy would have. Almost overnight it became a cultural phenomenon, launched the careers of Guy Ritchie, Matthew Vaughn and Jason Statham, amongst others, and spawned a television series and numerous British gangster film rip-offs in the process. But box office gold didn't come without huge upheaval, and the making of the film was often fraught. In Have a Butcher's, actor Stephen Marcus (Nick The Greek in the film) recounts the on-set dramas, the behind-the-scenes banter, his initial meeting with Guy Ritchie, the subsequent trips to Hollywood as the boys basked in success and critical acclaim, and the numerous financial problems that were only solved when Sting and Trudie Styler came on board. Drawing upon interviews with his co-stars, never-before-seen photos and original storyboards, Stephen tells the story of a film that has become a firm cult favourite.

Paul Newland's illuminating study explores the ways in which London's East End has been constituted in a wide variety of texts - films, novels, poetry, television shows, newspapers and journals. Newland argues that an idea or image of the East End, which developed during the late nineteenth century, continues to function in the twenty-first century as an imaginative space in which continuing anxieties continue to be worked through concerning material progress and modernity, rationality and irrationality, ethnicity and 'Otherness', class and its related systems of behaviour.The Cultural Construction of London's East End offers detailed examinations of the ways in which the East End has been constructed in a range of texts including BBC Television's EastEnders, Monica Ali's Brick Lane, Walter Besant's All Sorts and Conditions of Men, Thomas Burke's Limehouse Nights, Peter Ackroyd's Hawksmoor, films such as Piccadilly, Sparrows Can't Sing, The Long Good Friday, From Hell, The Elephant Man, and Spider, and in the work of Iain Sinclair.

Engaging Film is a creative, interdisciplinary volume that explores the engagements among film, space, and identity and features a section on the use of films in the classroom as a critical pedagogical tool. Focusing on anti-essentialist themes in films and film production, this book examines how social and spatial identities are produced (or dissolved) in films and how mobility is used to create different experiences of time and space. From popular movies such as "Pulp Fiction," "Bulworth," "Terminator 2," and "The Crying Game" to home movies and avant-garde films, the analyses and teaching methods in this collection will engage students and researchers in film and media studies, cultural geography, social theory, and cultural studies.