The Isle: An Interview with Matthew and Tori Butler-Hart in Offscreen Volume 23, Issue 12, December 2019. [Click here to read the interview]

The Awakening: An Interview with Stephen Volk in The Irish Journal of Gothic and Horror Studies Issue 11, June 2012. [Click here to read the interview]

The Good Son: John Hillcoat's The Proposition in Offscreen Volume 12, Issue 04, April 2008. [Click here to read the essay]

The Dreaming and the Dreamt: A Lexicon of Neil Jordan's The Company of Wolves in The Irish Journal of Gothic and Horror Studies Issue 2, March 2007. [Click here to read the essay]

Dust Devil - The Final Cut: Two DVD Versions in Senses of Cinema Issue 42, February 2007. [Click here to read the review]

It is Violence that Undoes the Man: Representations of the Modern Male in Alexandre Aja's The Hills Have Eyes in Offscreen Volume 10, Issue 10, October 2006. [Click here to read the essay]

The Light and the Darkness: Myth in the Films of Richard Stanley in Senses of Cinema Issue 32, July 2004. [Click here to read the essay]

Great Directors: Stephen and Timothy Quay in Senses of Cinema Issue 30, February 2004. [Click here to read the essay]


"There are rare treats of film books and this is definately one of them." Adrain Brady on Beyond Hammer

"Well-written and enlightening, managing to tread that difficult line between academic depth and easy readability." Filmstar's Kevin Stuart on Beyond Hammer

"It's in-depth, elegant, focused and with a remarkable attention to detail. Rose, an obvious fan and scholar of all things Chain Saw writes with clarity and intelligence... Like any good film criticism/appreciation book, it leaves you wanting to revisit the movie as soon as possible." Joel Harley reviewing The Devil's Advocates: The Texas Chain Saw Massacre for Horror Talk

"8 out of 10 Stars. Going into intricate detail and theorising the film like never before, Rose takes new perspectives on the much loved and genre defining classic, such as reading the film as Gothic, its role in defining the 'final girl' trope, and the cannibalistic nature of the family. For such a slim tome, there's plenty to digest, and it's refreshing to see the film treated with such reverence and intelligent reasoning. You may think you know Hooper's film, but after reading this Devil's Advocate dissection you will look upon it in a whole new light." Martin Unsworth reviewing The Devil's Advocate: The Texas Chain Saw Massacre for Starburst Magazine.

"This book has a real academic feel to it and it has clearly been extremely well researched... James Rose has done an excellent job at communicating the key information of this film and his work on analysing it makes it an invaluable resource." Media Education Association's Andrea Joyce reviewing Studying The Devil's Backbone


Nostalgia and Stranger Things

"The first shot of the entire series is an opening title card; stark white text against a solid black background which proclaims 'November 6th, 1983, Hawkins, Indiana', immediately setting the location of the series and its time period. From there, the first and subsequent episodes are deeply saturated in the ambience and style of the 1980s, all elegantly combined with a contemporary story told in a very modern way. Putting aside obvious signifiers (such as costume, hair styles and make-up), Stranger Things works its Nostalgia through wider and more holistic aspects: the entire first series feels like a 1980's Steven Spielberg production, with its emphasis on a group of children riding their bikes in quiet, suburban America who soon face unsurmountable odds; a child who is separated from their mother; this mother being the strong centre of the family who fights, tooth and nail, for her children; all of these wider elements recall the Spielberg directed E.T. The Extra-Terrestrial (1982) and the Spielberg produced Poltergeist (Tobe Hooper, 1982) and The Goonies (Richard Donner, 1985). This quality extends into the actions and behaviours of the children - they are first seen together as a group, playing the popular 1980's Role Playing Game, Dungeons and Dragons. As the camera slowly pans around the basement where they play, smaller time-period signifiers are seen, such as the poster for John Carpenter's The Thing (1982) seen hung on the wall, reinforcing, and building, the 1980s nostalgic feel.

It was way Better back then... Netflix's Stranger Things and the Desire for Nostalgia [MediaMagazine, Issue 81, Autumn 2022]


The Early Comic Book Adventures of Doctor Who

"Just a year into its broadcast and Doctor Who was a strong success, with actor William Hartnell firmly entrenched as the face of the Doctor, alongside companions Susan (Carol Ann Ford), Ian (William Russell), and Barbara (Jacqueline Hill) as well as the formulaic structure of the adventures. The popularity of the character with children made it an attractive property and one which TV Comic wanted to exploit and eagerly pursued a license to adapt Doctor Who into comic strip format. This resulted in the first Doctor Who comic strip being published in issue 674, November 14th, 1962, almost a year after the broadcast of the first episode."

Drawn Across Time and Space [Infinity, Issue 53, 2022]


The Look-in adventures of Sapphire and Steel

"To a great extent, the comic strip unsurprisingly mirrored its televised counterpart, particularly placing emphasis on Sapphire's ability to manipulate Time, with this skill being used in virtually all of the Look-in Assignments. As with the TV series, and as one panel caption explains, "Sapphire's eyes glow blue... and she turns Time back!" And, while this ability was often used to move the narrative forward, it was rarely used to get either Steel or herself out of a life-threatening situation. Instead, Sapphire would 'reset' Time by only a matter of minutes, usually to prevent someone from undertaking an action against them, such as when Mr Johnson throws a plate at Steel in Assignment 2: Possession: In actual time, the plate shatters on Steel's raised arm, injuring him; when Sapphire 'resets' time she steps in before Johnson can even pick up the plate. These moments add an uncanny feeling to each Assignment, suggesting that nothing is wholly fixed in Time or Space for Sapphire and Steel and that, should they need to, Time can be reversed and perhaps more importantly given its malevolent nature, be, to some extent, controlled."

Time on their Hands [Infinity, Issue 52, 2022]


Poltergeist at 40

"Not all of the special effects sequences involved elaborate sets and complicated special effects; some, such as the moment when the Beast's head rears out of the closet to attack Steven, was achieved using a simple in-camera optical effect: an articulated miniature head was constructed of the Beast's head and placed close to the camera lens in relation to the actual set and position of the actors. Once lined up and viewed through the camera, the Beast's head appears to be full size and interacting with both the set and actors. While this optical effect achieved the desired special effect, it makes the actor's performance difficult as they cannot see where miniature head is and what it is doing. To negate this, a video monitor was rigged and placed off-camera so the actor can see the position of the miniature's eyes and watch its movements and react in relation to it."

They're here: Poltergeist at 40 [The Dark Side, Issue 233, 2022]


1980's British Horror Comic Scream!

"Much like its IPC counterpart, 2000AD, Scream! claimed it was edited by an otherworldly presence. While 2000AD had Tharg the Mighty, Scream! had Ghastly McNasty, "the once human editor of this gruesome publication". And, just like Tharg, McNasty positions himself above the reader through his descriptions of them: "Snivelling surface dwellers!", "crawling cowards!" and "miserable specimens!". McNasty promises in his opening editorial to publish stories "that will chill you to the bone and make your blood run cold". Accompanying the full-length portrait of McNasty is a drawing of a modern tower block which is identified as King's Reach Tower and as having twenty-nine floors but McNasty comments that he works "twenty-nine floors beneath it". While McNasty was fictional, King's Reach wasn’t - it was the London-based offices of IPC which has, since IPC relocated, been renamed South Bank Tower and converted into luxury apartments."

Not for the Nervous [Infinity, Issue 48, 2022]


Enola Holmes and Post Modernism

"While the breaking of the Fourth Wall demonstrates a sustained behaviour of the Post-Modern within Enola Holmes, the Post-Modern nature of the production is compounded by the very concept of the text as it is a Pastiche. Both Parody and Pastiche are both considered to be Post-Modern traits but whereas Parody seeks to mock that which has gone before it (such as Deadpool which goes to great lengths to not only be a functioning Superhero movie but to actively mock that genre and its tropes), Pastiche seeks to celebrate the work that has gone before it. In this respect, Enola Holmes pays clear homage to the character and narratives of Conan Doyle's Sherlock Holmes by presenting the character of Holmes as a kind, thoughtful and considerate man as much as an immensely gifted detective. His relationship with Enola is one of the older brother, a positive figure that Enola can look up to as well as being one who actively seeks to support her."

Postmodernism in Enola Holmes [MediaMagazine, Issue 80, April 2022]