Gothicka

Rachel is a poet writer versed in prose as much as she is rhyme. She some published books of poem and poems on YouTube, Itunes, amazon digital music and google play. Her books are on LULU.com and amazon. This Journey into the dark side of mythology nature and life my roses have turned black I had a red rose bush of such beauty, The bush fell under a dark spell, Now my roses have all turned black, They are darker than the night at it's darkest, Their scents changed from the heavens scent to hell sent, I want my red roses back.

Horror films have always reflected their audiences' fears and anxieties. In the United States, the 2000s were a decade full of change in response to the 9/11 terrorist attacks, the contested presidential election of 2000, and the wars in Iraq and Afghanistan. These social and political changes, as well as the influences of Japanese horror and New French extremism, had a profound effect on American horror filmmaking during the 2000s. This filmography covers more than 300 horror films released in America from 2000 through 2009, including such popular forms as found footage, torture porn, and remakes. Each entry covers a single film and includes credits, a synopsis, and a lengthy critical commentary. The appendices include common horror conventions, a performer hall of fame, and memorable ad lines.

It was supposed to be exciting, yet such an ordinary event in their lives. A new town, a new university. Tyler's father wanted to turn the old family castle on the hill overlooking the village into student accommodation. Tyler and five friends moved in as a one year trial. All was quiet at the start of the University year but it soon became clear that there was something else in residence as well. Something old, something dark. It had been there, waiting in the shadows for a long time. It had been disturbed by their presence and it did not like them. It did not want them there. And it was very, very angry. Dreams became nightmares, good times turned to evil. Was it just one entity or many? Who did it hate the most? The final showdown was about to begin. How would they rid the castle of it's presence? Or would this entity destroy them first?

Questioning the psychiatric construction of mental distress as 'illness', and challenging existing studies of media stigmatization, Stephen Harper argues that today's media images of mental distress are often sympathetic, yet tend to reproduce the sexist, classist, racist and individualist ideologies of contemporary capitalism.

For as long as he can remember, fourteen-year-old Joshua Blevins has wanted to be a superhero. He has the brains, the passion, and the heart. There's only one problem: he doesn't have any superpowers. But Josh isn't about to let that stop him. Determined not to give up on his dream, Josh enlists the aid of his mentor, Captain Fearless, a retired costumed adventurer, to gain entrance to the Burlington Academy for the Superhuman under the false identity of Chance Fortune—a superhuman with the power of having unnaturally good luck. Masquerading as Chance, Josh rises among the ranks of his fellow students at the Academy, eventually becoming the leader of his own combat team, the Outlaws. Together, Chance and his teammates Psy-Chick, Shocker, Gothika, Space Cadet, Iron Maiden, and Private Justice make new friends, battle new enemies, and ultimately find themselves caught up in a struggle for the fate of the universe. Can Chance and the Outlaws save the universe—AND survive their freshman year? At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

This book examines twentieth and twenty-first century speculative fiction films that represent women and girls of African descent Jeffrey offers insights about positive developments while calling attention to questionable trends in recent movie-making.

From King Kong to Candyman, the boundary-pushing genre of horror film has always been a site for provocative explorations of race in American popular culture. This book offers a comprehensive chronological survey of Black horror from the 1890s to present day. In this second edition, Robin R. Means Coleman expands upon the history of notable characterizations of Blackness in horror cinema, with new chapters spanning the 1960s, 2000s, and 2010s to the present, and examines key levels of Black participation on screen and behind the camera. The book addresses a full range of Black horror films, including mainstream Hollywood fare, art-house films, Blaxploitation films, and U.S. hip-hop culture-inspired Nollywood films. This new edition also explores the resurgence of the Black horror genre in the last decade, examining the success of Jordan Peele’s films Get Out (2017) and Us (2019), smaller independent films such as The House Invictus (2018), and Nia DaCosta’s sequel to Candyman (2021). Means Coleman argues that horror offers a unique representational space for Black people to challenge negative or racist portrayals, and to portray greater diversity within the concept of Blackness itself. This book is essential reading for anyone seeking to understand how fears and anxieties about race and race relations are made manifest, and often challenged, on the silver screen.

"La Haine" is a cult classic with cinema audiences, recently re-released and available on dvd. Ginette Vincendeau is top authority internationally on French cinema, who writes (eg "Sight and Sound") and broadcasts (eg "Front Row Radio 4") on it regularly. It is hugely enjoyable, exciting book written with great panache and accessibility. Released in 1995, "La Haine" is the black and white chronicle of 24 hours in the life of a mixed-race young male trio from a run-down Parisian suburb. The work of a - then - unknown young team, it became hugely and unexpectedly successful, launching director Mathieu Kassovitz and lead player Vincent Cassel to stardom. Vincendeau provides a thorough understanding of the context of the film's making, both in terms of the film industry and of French society, of the film's narrative tension, stylistic sophistication and ideological ambiguity and of its extraordinary success nationally and internationally. She thus explains why, out of so many films about disaffected youth, "La Haine" is the one that has caught the international imagination.