SEARCHsearch icon
  • Hidden

Dogwoof brings filmmaker Mark Cousins’ The Story of Film: A New Generation to the big screen this season, as he updates his influential documentary series with an examination of the most powerful movie images of the last decade. Following its Special Presentation World Premiere at Cannes Film Festival and BFI London Film Festival previews, the film will open in cinemas around the UK & Ireland from 17 December 2021.

A decade after The Story of Film: An Odyssey, an expansive and influential inquiry into the state of moviemaking in the 20th century, filmmaker Mark Cousins returns with this epic and hopeful tale of cinematic innovation from around the globe, as he helps to uncover new ways of seeing and being in our eclectic and voluminous digital age.

In The Story of Film: A New Generation, Cousins turns his sharp, meticulously honed gaze on world cinema from 2010 to 2021, using a surprising range of works — including Joker, Frozen and Cemetery of Splendour — as launchpads to explore recurring themes and emerging motifs, from the evolution of film language, to technology’s role in movie-making today, to shifting identities in 21st-century world cinema.

Presented in two parts and referencing nearly 100 films, The Story of Film: A New Generation touches on everything from Parasite and The Farewell, to Black Panther and Lover’s Rock.Cousins seeks out films, filmmakers and communities under-represented in traditional film histories, with a particular emphasis on Asian and Middle Eastern works — including Aamir Khan’s globally successful PK and Waad al-Kateab’s Syrian film, For Sama — as well as highlighting further boundary-pushing documentaries and films that see gender in new ways.

And as the recent pandemic recedes, Cousins ponders what comes next in the streaming age: how have we changed as cinephiles, and how movie-going will continue to transform in the digital century, to our collective joy and wonder.

For further information on the film release, please click here.


Mark Cousins is the author of the seminal text ‘The Story of FilmUpdated in October 2020, complete with new chapters, this is a compelling and accessible exploration of cinematic innovation, style and the cultural impact of film worldwide. An unparalleled introduction to the medium that, 25 years later, continues to fascinate and astound.


Pastry Chef, author and Junior Bake Off Judge Ravneet Gill joins Greg James and Bella Mackie on their ‘Teach Me a Lesson’ Podcast to reminisce about her school days. 

Ravneet shares her memories of being the weird but pretty one at school, and recalls some slightly odd obsessions she had with buttons, voodoo dolls, different types of dust, and blocks of ice. She also shares the moment she realised – thanks to a homemade photo album of cupcakes – that being a chef was what she wanted to do with her life. She recalls how Instagram changed her life, but also how it feels to be on the end of some unusual requests online.

When Ravneet was 14 an astrologer told her mother she would work in the food industry. Ravneet was a fussy eater and at the time it seemed ridiculous, but after completing a psychology degree her passion for pastry and cooking led her to study at Le Cordon Bleu. In 2019 she was voted one of the 100 most influential people in the hospitality industry. Ravneet has published two cookery books and has recently joined the Telegraph as their new baking columnist. In 2021, Ravneet joined Channel 4’s Junior Bake Off as a judge alongside Liam Charles and host Harry Hill.

You can listen to the episode here

Ravneet’s books The Pastry Chef’s Guide and Sugar, I Love You are out now.



Junior Bake Off Judge Ravneet Gill grew up LOVING sugar. This ode to all things sweet, takes home patisserie to the next level with Ravneet’s signature style, wit, and easy-to-follow approach. We’re talking MORE cheesecakes, ultimate multi-layered, multi-textured cakes, sweet doughs, as well as crunchy biscuits and classic ring donuts. Featuring over 70 recipes, Sugar, I Love You is bursting with colour, flavour, and personality.


LPC (Lazy Person’s Cake)

For your eating pleasure, I spent weeks testing different variations of chocolate cake. I knew what I wanted: something wonderfully moist, a touch bitter, light, quick-to-make and beautiful. The perfect lazy person’s cake. It had to be a gleaming beauty that looked like you’d spent forever on it, when in reality it involved very little effort. We make this cake for people we care about, but don’t have much time for. Fringe friends, you might say.

Makes a 20cm (8in) cake


For the wet cake mix

175ml olive oil, not overly strong, plus extra for the tins

2 eggs

175ml buttermilk

170ml boiling water

5g/1 tsp instant coffee


For the dry cake mix

125g caster sugar

125g light brown sugar

80g cocoa powder

230g plain flour

5g/1 tsp sea salt flakes

10g/2 tsp bicarbonate of soda

5g/1 tsp baking powder


For the malt chocolate ganache

150g 70 per cent cocoa solids chocolate, chopped

50g 55 per cent cocoa solids chocolate, chopped

pinch of sea salt flakes

300g double cream

1 tbsp malt extract (alternatively use black treacle, maple syrup or honey)


I want to blaze through this recipe as quick as you, so here we go!

Preheat the oven to 160°C fan/180°C/gas mark 4. Grease two 20cm (8in) cake tins with oil, then line with baking paper.

Weigh all the dry cake mix ingredients into a large bowl and stir together with a whisk to fully combine. (If the sugar is lumpy, you will have to sift it.)

Weigh all the wet cake mix ingredients, except the water and coffee, into a large bowl and whisk together. Make the coffee in a cup with the measured boiling water and instant coffee, pour it into the wet ingredients bowl and stir well.

Add the dry mix to the wet mix and stir well with a whisk to combine.

Divide the mixture evenly between the prepared tins (if you want to be precise, you can weigh the total batter, then divide it exactly in half).

Bake for 35 minutes, or until a skewer inserted comes out clean.

Remove from the oven and allow to cool in the tin for 20 minutes before flipping onto a wire rack (allow to cool fully before adding the ganache you’re about to make).

To make the ganache, put both the chocolates and the salt in a large heatproof bowl.

In a saucepan, heat the cream with the malt extract until steaming but not boiling.

Pour the hot cream over the chocolate and leave for 1 minute. Use a whisk to stir the ganache from the middle outwards – so as not to whisk in any air – until silky and beautiful. Let the ganache sit for 10 minutes.

Take a large plate with a lip. Place a cooled cake on the plate and spoon over enough ganache to cover the top. Don’t worry if it spills over the edges, we kind of want this. Place the next cake on top. Pour the remaining ganache all over the top, without a care in the world.

Use a spoon to guide it over, making sure plenty of ganache is falling down the sides. Put the cake in the fridge for 20–30 minutes.

Remove the cake from the fridge and, using a small offset palette knife, scoop up the set ganache from the edges of the plate and spread over the sides to create a smooth finish. It really is that easy and effortless.

You’ll have your friends thinking you really care…

This cake keeps best in an airtight container at room temperature for 3 days. If storing in the fridge, allow to come to room temp before eating – it’ll be much nicer! I recommend warming up a slice in the microwave for 20 seconds and pouring cold cream all over it.

Extracted from Sugar, I Love You: Knockout recipes to celebrate the sweeter things in life by Ravneet Gill. Photo credit: Ellis Parrinder

Self-care begins with what you eat

Lorna Salmon shares how the joys of cooking, baking, foraging and feasting have helped her through the toughest of times. A passionate mental health advocate, since her diagnosis of depression and GAD (generalised anxiety disorder), she has found solace with her love of food. 

Her debut book, The Calm Kitchen is more than just a recipe book. Following the four seasons, it’s a beginner’s guide to reconnecting with nature through food as a form of self-care, from the soothing smell of lavender in summer to the simple magic of baking a loaf of bread on an autumn evening, from shopping (or foraging) for your favourite seasonal ingredients to cooking them to feed yourself or your friends and family.

Lorna shares how mindful cooking, baking, foraging and feasting (the latter being her personal favourite) can lead to better peace of mind, health and well-being. She takes you through a collection of foolproof recipes alongside informative, insightful guides to ingredients and how they can benefit your physical and mental health.

You will also find tips on foraging across the hundreds of miles of countryside, woodland, orchards and kitchen gardens in the United Kingdom. With more than 30 delicious recipes, all of them vegetarian, The Calm Kitchen is the perfect companion to help you quieten your mind and nourish your body – more timely than ever as we all learn to cope with the stresses of this global Coronavirus pandemic.


Cooking for people is one of my favourite things to do. It taps into a central pleasure I get from my relationship with food: sharing that love with others. I’ll quietly squirrel away at a recipe behind the scenes, fine-tuning, testing and tasting before I decide my culinary creation is ready to be unveiled around the makeshift table in our flat’s kitchen. It’s a warm, comforting, safe space.

As someone who’s been diagnosed with generalised anxiety disorder and depression, I can often find myself feeling low for no reason. At times I also struggle to put myself in social situations because they can be incredibly draining. But in recent years, I’ve noticed that food and friendship can have exactly the opposite effect. Especially when the two are combined: I feel restored.

The nature of my diagnosis means I have an inherently busy brain, and this is why the mindful act of cooking has been so beneficial for my health. I am, often for the first time during the entire day, forced to be present and focused on what I’m doing right here, right now. Distractions burn food. I am in my kitchen and this is my time. Not only for me, but for the loved ones I’m feeding that evening.

The self-care benefits of feeding friends and family are undeniable, and with that comes the pleasure of nourishing and sustaining others; all of which are amplified by the shared joy of eating and enjoying a meal together. Cooking for others has genuine psychological benefits.

In the most primal sense, our brain will reward us because we’ve successfully kept ourselves alive by eating. You’re also reaffirming a powerful sense of community with your nearest and dearest. No wonder you feel so good after feeding not only yourself, but a room full of others! You are the provider, the caregiver, the nourishment-maker.

It was a revelation that something I’d been doing for so long was so beneficial for my mental well-being: the act of slowing down, going about my usual mindful meal prepping, chopping vegetables, stirring sauces and creating something delicious with my favourite music setting the pace for proceedings. That food then puts a smile on the face of the people you love most. I feel needed and loved in those moments – because I need and love them, too.

This is the joy of feeding friends and family – an age-old ritual designed to bring us all closer together, cementing relationships, laughing, reminiscing, celebrating. This happens around tables of different shapes and sizes across the world every day.

Now isn’t that a lovely thought?

Extracted from The Calm Kitchen: Mindful recipes to feed body and soul by Lorna Salmon. Illustrations by Naomi Elliott.

Illustrator and self-care influencer Stacie Swift has connected with over a quarter of a million followers around the world through her feel-good Instagram posts.

Stacie’s ‘The Positively Awesome Journal’ is a space to record the good and bad days. To work through the ups and downs.  And a place to focus on self-care and positive well-being.

With artwork that makes you smile and colours that lift your mood, this journal invites you to start your very own journaling journey in style. Be guided by the self-care tips and activities, empowered by the affirmations and inspired by the illustrations that offer a daily dose of encouragement and positivity, reminding you of how awesome you are.

Designed to promote and encourage mental well-being, it is the perfect pick-me-up to help keep you uplifted, motivated and understood. You can finally write that ‘not-to-do’ list, prioritise your tasks, learn how to set social media boundaries, make your own luck, complete a feeling forecast, create a dream log, fill out a meal plan, give thanks, celebrate your progress and find plenty of room for self-reflection – all in one safe place.

With this free download from Stacie’s The Positively Awesome Journal, you can tick a box each day to keep a record of your feelings each week.


Pavilion Books Commissioning Editor Cara Armstrong has acquired North-london based chef Hasan Semay’s (a.k.a Big Has) debut cookbook ‘HOME’ from Grace O’Leary at Independent Talent Group 360.

The book will publish on 2 June 2022 and showcases Has’ signature style of robust, accessible and beautiful cooking peppered with influences from his North Cypriot heritage and inspiration from his time spent in professional kitchens.

A graduate of Jamie Oliver’s 15 program, Has has spent the last ten years in and out of restaurant kitchens perfecting pasta at Palatino and grilling meat at Sardine. He believes that ‘food is for everyone, no matter where you come from’, and his debut cookbook will focus on the sense of community that cooking and sharing food creates – from delicate oxtail agnolotti to jerk pork neck and pickles, this is the sort of food that begs to be shared. His no-nonsense approach to cooking and his BBQ Sunday Sessions series on YouTube regularly brings his online community together for masterclass sessions and delicious recipes.

Pavilion Books commented:

“We are so proud to be publishing Has at Pavilion. He is a hugely talented chef and writer, the way he speaks about food and teaches you to engage with ingredients and the cooking process is totally unique and his recipes speak for themselves in their flavour and personality.”

Has sad:

‘This book is just about food. Nothing flashy, no expensive equipment and gizmo’s. It’s entirely about flavours and understanding. Everything I learnt in kitchens or dishes I really enjoyed eating I’d always perfect at home or make for the family. Food in its entirety is more than just filling your stomach; it’s about stories, history, those shared moments.’

 HOME by Big Has will be published by Pavilion Books on 2 June 2022. Hardback, £14.99.

Publicity enquiries to Komal Patel:



Broad Bean Burgers with Goat’s Cheese, Apple Glaze and Pickled Beetroot

This tasty veggie burger hits the spot with its many layers of flavour. The pickled beetroot makes more than you need but it will keep for at least a month. Extracted from Ollie Hunter’s  Join the Greener Revolution: 30 easy ways to live and eat sustainably’.




100 ml/31⁄3 fl oz/1⁄3 cup red wine vinegar

200 ml/63⁄4 fl oz/3⁄4 cup cider vinegar

100 g/31⁄2 oz/1⁄2 cup golden caster (granulated) sugar

1 star anise
10 coriander seeds

10 cumin seeds
5 fennel seeds
2 raw beetroots


For the apple glaze
1 litre/quart/4 cups apple juice

280 ml/91⁄2 fl oz/scant 11/4 cups apple cider vinegar

120 g/41/4 oz/scant 2/3 cup golden caster (granulated) sugar


For the burgers
600 g/1 lb 5 oz sweet potatoes

240 g/81⁄2 oz cooked fava (broad) beans (1 x 400-g/14-oz drained can)

2 tsp ground cumin
2 tsp ground coriander

2 tsp ground dried chilli (hot red pepper) flakes

70 g/21⁄2 oz/1⁄2 cup broad (fava) bean flour


4 slices of goat’s cheese
brioche burger buns

condiments of your choice


Start by making the pickled beetroot. Stir together both vinegars, the sugar and all the spices in a saucepan and bring to the boil for 3 minutes, then remove from the heat. Meanwhile, peel the beetroots, then continue using the peeler to shave them into fine strips. Add the beetroot shavings to the warm pickling solution. Leave to infuse at room temperature for a minimum of 1 hour. The pickled beetroot will keep in a sterilized sealed container in the fridge for up to 1 month.


While this is happening, make the apple glaze. Stir together the apple juice, apple cider vinegar and sugar in a saucepan. Reduce over a medium heat for about 30–40 minutes or until there’s one-sixth left – you should have about 150 ml/5 fl oz/2/3 cup.


To make the burgers, preheat the oven 200°C fan/220°C/425°F/gas mark 7.

Place the sweet potatoes in a roasting pan and roast for 45 minutes. Remove from the oven but leave the oven on. Leave the potatoes until cool enough to touch and then scoop the flesh out of the skins. Place the sweet potato flesh, cooked broad beans, spices, dried chilli flakes, 30 g/1 oz of the flour and some salt to a food processor and blitz until bound together.


Tip the mixture out into a bowl and shape into 4 burger patties with your hands. Dip each patty in the remaining flour to coat the outside all over. Place on a well-oiled baking sheet and roast the burgers for 25 minutes, turning halfway through cooking. Place a slice of goat’s cheese on top of each burger and cook for a further 3 minutes.


Assemble the burgers inside your delicious homemade brioche buns, with any condiments you like. I always think a cheeky bit of mayonnaise (especially a herby one) on the bottom bun helps to keep it moist – place the burger on top, then drizzle over some apple glaze and finish with some pickled beetroot and the burger bun lid.

This recipe features in Ollie Hunter’s book Join the Greener Revolution: 30 easy ways to live and eat sustainably’. Image credit to Louise Hagger.

Congratulations to Ravneet Gill, author of The Pastry Chef’s Guide and Sugar, I Love You who won in the ‘Best Breakthrough 2021’ category at the GQ Food & Drink Awards ceremony on Monday 28th June 2021.

Ravneet Gill studied at Le Cordon Bleu before taking over the pastry sections at St John, Llewelyn’s, and Wild by Tart in London. Now a freelance chef, she set up industry networking forum Countertalk in May 2018 as well the hugely successful PUFF bakery school and pop-up in 2019.

In 2020, she was announced as the new judge of Channel 4’s Junior Bake Off starring alongside Liam Charles.

She is the Telegraph’s Pastry specialist columnist, as well as a regular columnist for Guardian Feast. In June 2021, she launched her online cookery school, Damson Jelly Academy.







To mark the publication of Chasing Smoke: Cooking Over Fire Around The Levant

Join Honey & Co.’s Sarit Packer and Itamar Srulovich on a journey filled with flavour and fire as they celebrate the publication of their new book. In conversation with fellow cook Anna Jones, they’ll explore their favourite recipes, stories and the best of culinary culture. Fire has always seasoned Sarit and Itamar’s food – both at home and in their own grill house, Honey & Smoke – and now you too will fall in love with this comforting, no-fuss, fare.

“From the countryside of Jordan to the back streets of Cairo, we’ve been following a smoke trail, answering the ancient call of the hot coals, chasing down the delicious, proud traditions of cooking over fire around the Middle East – eating sweet roasted chestnuts at roadside stalls in Adana, grilling sardines on Greek beaches, exploring the alleyway markets of Amman and Acre – burning our fingers turning meat and bread, always looking for the friendliest people, the fiercest fires and the tastiest recipes to bring back to our kitchen, our restaurants, and to this book.”

Bursting with inspiration and complete with culinary souvenirs including beautiful ingredient combinations, age-old tricks and techniques, curious kitchen tools and clever ‘rainy day’ advice on how to recreate the dishes using a conventional oven or stovetop, this promises to be a mouth-watering evening.

The book also features five city features on Alexandria, Egypt; Amman, Jordan; Acre, Israel; Adana, Turkey, and Thessaloniki, Greece.

‘Just the sort of food I want to eat: welcoming, abundant, and with as much heart as flavour.’ Nigella Lawson


In October autumn truly arrives. A chill pricks the evening air and the trees silently turn to vivid shades of saffron and scarlet, their last days full of colour. On the best days there is a mellow brightness that calls you outside into the clear, crisp air to rustle through the fallen leaves. Yet as the writer P.D. James reminds us, these perfect autumnal days ‘occur more frequently in memory than in life’, and more often than not the creeping cold draws us inside, and into the kitchen.

Halloween provides a sweet end to the month, an excuse for garish excess and fanciful feasts. The origins of All Hallows’ Eve are unknown to most, but its traditions hark back to ancient Celtic harvest festivals. And so, as well as the thrill of guises and ghouls, it’s an excuse for gathering together and revelling in the abundant riches of autumn.

Extracted from The Food Almanac: Recipes and Stories for a Year at the Table by Miranda York.



The Story of Film pays homage to the radical thinkers who have shaped our cinematic landscapes and celebrates the iconic films that continue to have an impact on what we watch in the twenty-first century.

An updated edition of a seminal text, complete with new chapters, this is a compelling and accessible exploration of cinematic innovation, style and the cultural impact of film worldwide. An unparalleled introduction to the medium that, 25 years later, continues to fascinate and astound.

Mark Cousins is an Irish-Scottish filmmaker and author. His films – including The Story of Film, The First Movie, The Eyes of Orson Welles, Atomic, I am Belfast, Stockholm My Love and Women Make Film: A New Road Movie Through Cinema – have won the Prix Italia, a Peabody and the Stanley Kubrick Award. They have premiered at the world’s major film festivals. Their themes are looking, cities, cinema, childhood, and recovery.

His other books include Imagining Reality: The Faber Book of Documentary, and The Story of Looking. He loves walking across cities such as Los Angeles, Moscow, Paris, Beijing, Berlin, London and Mexico City with his camera.

Here, Mark Cousins interviews himself about his book The Story of Film, first published in 2014, and updated for 2020.

Why did you write The Story of Film?

I was frustrated that the conventional histories of the movies left out large parts of the world, or were too jargony or theoretical. I am a filmmaker and wanted to try to look at cinema from a practical perspective. I wrote an article in 2001 suggesting that there should be a film book equivalent of E.H. Gombrich’s The Story of Art (but without his blind spots). Then, thinking nothing more of it, I drove to India, via Turkey, Kurdistan, Iran, etc, with my partner.

On that trip, the centre of gravity of our heads shifted eastwards. When I returned, I found three letters (actual letters lying in the hall, not emails!) from publishers asking if I might write the kind of book I had described.

You were in your mid 30s, was that not too young to write a history of the medium?

Yes, in a way. There was a lot I hadn’t seen. And I remember looking at film critics – like Philip French in the UK, who was much older than me – and thinking that I should wait my turn. But I knew I wanted to try, and I had a theme – innovation. Plus, I could see the structure of the book. I love structuring big things. There’s a wannabe architect in me.

Also, in my mid 30s, I wasn’t old enough to have become nostalgic for a golden age. This helped.

What went wrong as you wrote?

Various things. The main one was my writer’s voice. I tried to write the book for my 15-year-old self growing up in working class Northern Ireland, who had little access to books. As a result, my writing style was at first too childish.

When the first proofs were shown to peers for comments, one film historian said that it was ‘unpublishably bad’.

I also made mistakes. I spelled the great filmmaker Larisa Shepitko’s name Sheptiko, for example. I’d never heard anyone say her name out loud!

And your writing process?

I read a lot, drank a lot of tea, grew sideburns and phoned video shops around the world to order VHSes. As usual with any big project, I started with huge sheets of paper. I scribbled maps, grids and themes so that, when I came to the actual writing of sentences and paragraphs, I didn’t also have to be thinking of structure and the broader story. That was already planned. I was also aware that as I wrote, I needed to help readers see scenes and moments in the films I was describing, especially the less well-known ones. I kept saying to myself ‘from word to image, from word to image’.

Why were you not happy with the film histories you’ve read?

I’ve sort of answered that. But I could add that the playing field wasn’t level. American, male 70s filmmakers were talked about constantly by fan boys, but African filmmakers of the 70s, such as Ousmane Sembène, weren’t. And when people in the West talked about musicals, it was usually Singin’ in the Rain or West Side Story, not Mehboob Khan or Guru Dutt. And, back then, film fans would happily say that they’d never seen an Agnès Varda film, or a Mai Zetterling movie. Women directors weren’t much in the mainstream stories of cinema.

It helped, I think, that I didn’t come from a centre of the film world like LA, Paris, New York or Mumbai, and that, growing up, I had zero connections with the film industry. I had started as very much an outsider, and outsiders often can see things more clearly than insiders. Insiders have distortions and the parallax of thinking that they are the centre of the map. The further away something is, the more foreign or ‘obscure’ for them. Everything was far away from me when I was young. The Hollywood films of Vincente Minnelli, for example are amongst the weirdest, most baroque and beautiful products of the C20th, but they are in no way near the centre of cinema. They are in no way ‘classical’ or the norm.

Are you a writer?

For years I’ve been saying no to that. I was a slow reader and bad speller at school, and was far better at visuals, maths, science, etc. But I’ve come to like writing especially because it is hard for me to do. When I want to write a sentence, I sort of have to see it as a wee video in my head, then translate that video into words. There’s some lifting to do. But after you’ve lifted, you get a dopamine hit.

What happened when The Story of Film was first published?

Sales started slowly, I think, but the reviews were mostly very good, and it was translated into quite a few languages. I was in Beijing, for example, and saw the book in shops there. Then John Archer of Hopscotch Films asked me if I’d turn it into a film. That took some years, but when it came out, it was seen globally.

Since then, there’s been a slowly building impact. Both book and film have made their way onto many film courses around the world. Some movies have been restored or released on disc as a result of The Story of Film’s advocacy of them. And I regularly hear from people who say lovely things about how it influenced their taste in cinema, refuelled their cinephilia and/or helped encourage them to try filmmaking themselves. Plus various movie stars and directors messaged, which was nice…

Was making the film similar to making the book?

The opposite. I sat in a room to do the book. I travelled the world to make the film. The book went ‘from word to image’, the film went ‘from image to word’; I started with film clips then tried to describe what was happening ‘behind’ them, or within them. I kept saying to myself ‘the audience is looking at a pyramid, your job is to describe the scaffolding and labour force with which it was built.’ Weird, I know, but it helped me!

Why do an update of the book?

Because my publisher Pavilion asked me to. And because a lot has happened in the last generation in cinema. New technologies, new filmmakers, new points of view, new ways of watching. Films are now a click away, more accessible than at any time in movie history.

A consensus has formed about which have been the great movies and trends in recent years. I agree what a lot of what’s said, but as usual I find it a bit blinkered and snobby. As usual there isn’t enough Indian cinema in it. As usual it’s pretty metro-centric and Anglocentric!

You don’t still think of yourself as an outsider, do you?

Ha ha. I know I have some visibility and influence in the film world these days, so not quite. But I’m a constant apprentice. There’s so much more that I don’t know. And insight and creativity are always elusive. You can have them in your grasp for a while, but then they slip away into the forest and you are lost again. You have to start looking again.



Oct 2020






‘This is a colourful and timely book at a time when the science & industry of finance is being seriously questioned by people who have been defrauded, pensioners who have lost their savings, & homeowners whose mortgage debt has sky rocketed through hidden clauses, rendering them homeless and bankrupt. The language & terminology of finance has been designed to exclude & expropriate. In a similar way society has excluded and expropriated animals at a suicidal rate in the anthroposcene. This book subtly marries the jargon with the abuse, exposing the contradictions inherent in this ‘science’ which in reality is often ‘alchemy’ and even worse, exploitation of people, governments & nature in the guise of efficiency & free market fundamentalism. It is more than a dictionary of jargon – it provides a platform for scholars to evaluate language & its abuse by so-called experts in society.’ – Professor Atul K. Shah, Professor of Accounting & Finance, City University London


In Bear Markets and Beyond, BBC journalists Dhruti Shah and Dominic Bailey guide you through the confusing world of business jargon with a bold, graphic bestiary.

Unicorns, narwhals, yaks, cows and civets – what have all these creatures got to do with your hard-earned cash?

Well, far more than you would think at first glance. They are all beasts that appear in the global economic ecosystem. They pop up as warnings, messages, signals and useful analogies in order to help us navigate what can sometimes be a confusing, closed-off world.

As well as more familiar terms such as piggy bank, loan sharks and rat race, there are alligator spreads – which occur when an investor will never be able to make a profit on their transactions, or a lobster trap, which is a type of strategy a company will deploy in order to prevent a hostile takeover. There is even the memorable honorific of ‘vampire squid’ given to Goldman Sachs.

You wouldn’t want to enter a bear pit unprepared, so keep this guide to the animals of the financial jungle to hand.

Available to order here or from your local bookshop.