This book, first published in 1987, sets out to examine and extend our understanding of Australian popular culture, and to counter the long-established, traditional criticism bewailing its lack. The authors argue that the 'knocker's' view started from an elitist viewpoint, yearning for Australia to aspire to a European culture in art, music, literature and other traditional cultural fields. They argue however that there are other definitions of culture that are more populist, more comprehensive, and which represent a vitality and dynamism which is a true reflection of the lives and aspirations of Australians. Myths of Oz offers no comprehensive definition of Australian culture, but rather a way of interpreting its various aspects. The barbeque or the pub, an expedition to the shops or a day at the beach, the home, the workplace or the job queue; all these intrinsic parts of Australian life are examined and conclusions drawn as to how they shape or are shaped by what we call popular culture. The authors look too at monuments and symbols, from Ayers Rock to the Sydney Opera House, which both shape and reflect Australian culture, while a chapter on the Australian accent shows how language and terminology play a powerful role in establishing cultural standpoints. A particular strength of this book is that while delivering a provocative and stimulating series of viewpoints on popular culture, it also makes use of current academic tools and methodology to ensure that we gain new insights into the meanings and pleasures we derive from our everyday experiences.

Supermarkets, in all their everyday mundanity, embody something of the enormous complexity of living and consuming in late twentieth century western societies. Shelf Life, first published in 1998, explores the supermarket as a retail space and as an arena of everyday consumption in Australia. It historically situates and critically discusses the everyday food products we buy, the retail environments in which we do so, the attitudes of the retailers who construct such environments, and the diverse ways in which all of us undertake and think about supermarket shopping. Yet this book is more than narrative history. It engages with broader issues of the nature of Australian modernity, the globalisation of retail forms, the connection between consumption and self-autonomy, and the highly gendered nature of retailing and shopping. It interrogates also the work of cultural critics, and questions recent attempts to grasp what it means to consume and to be a 'consumer'.

Since the publication of L. Frank Baum's The Wonderful Wizard of Oz in 1900, authors, filmmakers, and theatrical producers have been retelling and reinventing this uniquely American fairy tale. This volume examines six especially significant incarnations of the story: Baum's original novel, the MGM classic The Wizard of Oz (1939), Sidney Lumet's African American film musical The Wiz (1978), Gregory Maguire's novel Wicked: The Life and Times of the Wicked Witch of the West (1995), Stephen Schwartz and Winnie Holzman's Broadway hit Wicked: A New Musical (2003), and the SyFy Channel miniseries Tin Man (2007). A close consideration of these works demonstrates how versions of Baum's tale are influenced by and help shape notions of American myth, including issues of gender, race, home, and magic, and makes clear that the Wizard of Oz narrative remains compelling and relevant today.

When moviegoers accompany Dorothy through the gates of the Emerald City, they may think they have discovered all there is to see of Oz--but as real friends of the Wizard know, more lies behind the curtain. The Wonderful Wizard of Oz, on which the 1939 film was based, was only the first of 14 Oz books. Together these works constitute a series rich in allusions to a broad range of literary traditions, including fairy tale, myth, epic, the picaresque novel, and visions of utopia. Reflecting on L. Frank Baum's entire series of full-length Oz books, this study introduces readers to the great folklorist who created not only Dorothy and friends, but countless wonderful characters who still await discovery. Close analysis of each book invites readers to search Baum's fascinating stories for meaning and mythical quality. Progressing chronologically through the canon, the author discusses literary devices and important thematic implications in each book, arguing that Baum wrote for the pleasure of both children and adults, both to provide entertainment and to teach moral lessons. Of particular significance is the argument, sustained over several chapters, that Baum modeled his Oz books on classic mythical patterns, rewriting Oz history in nearly every book to produce a different set of backgrounds and a different conception of utopia for his imaginary kingdom. This variety of backgrounds and archetypes gives Baum's books a truly universal appeal. Examinations of his non-Oz books and his other Oz works, such as Little Wizard Stories of Oz and The Woggle-Bug Book, illuminate the discussion of the Oz novels.

Nick Cave is now widely recognized as a songwriter, musician, novelist, screenwriter, curator, critic, actor and performer. From the band, The Boys Next Door (1976-1980), to the spoken-word recording, The Secret Life of the Love Song (1998), to the recently acclaimed screenplay of The Proposition (2005) and the Grinderman project (2008), Cave's career spans thirty years and has produced a comprehensive (and sometimes controversial) body of work that has shaped contemporary alternative culture. Despite intense media interest in Cave, there have been remarkably few comprehensive appraisals of his work, its significance and its impact on understandings of popular culture. In addressing this absence, the present volume is both timely and necessary.

Over the Rainbow shows how Dorothy's passage from Kansas to Oz and back again recapitulates paradigmatic stories of both America and Christianity. Defining human identity on three symbolic levels (individual, collective, and cosmic), Nathanson shows that The Wizard of Oz has come to be a "secular myth."