Little did San Francisco detectives, Mackenzie and Fergusson know, that there was achilling and restless secretin a couples back yard. The detectives however, would later find out about the forty-one-year-old mystery first hand.However, during the investigation it was clear that they were after anescaped mental patient on a murder spree. Also, thediscovery of major cover-ups, by oneof San Franciscos elite Doctors, fifty-eight years ago, would proverevengeful and deadly.
The horror genre harbors a number of films too bold or bizarre to succeed with mainstream audiences, but offering unique, startling and often groundbreaking qualities that have won them an enduring following. Beginning with Victor Sjostrom's The Phantom Carriage in 1921, this book tracks the evolution and influence of underground cult horror over the ensuing decades, closing with William Winckler's Frankenstein vs. the Creature from Blood Cove in 2005. It discusses the features that define a cult film, trends and recurring symbols, and changing iconography within the genre through insightful analysis of 88 movies. Included are works by popular directors who got their start with cult horror films, including Oliver Stone, David Cronenberg and Peter Jackson.
Bergman is a most versatile director who has devoted himself to several muses in a variety of media. Apart from being a writer of plays and screenplays, he has over the past fifty years directed about a hundred stage performances, fifty films, and many works for radio and television. During this time, all the production equipment used have undergone significant changes (allowing, just for instance, a more varied and subtle use of light and sound). But by his own admission, Bergman's texts have often lacked a clear orientation toward a specific medium. This book focuses on Bergman's way of tackling the problems inherent in each art form he has dealt with, giving a penetrating picture of his craftsmanship and the intimate relationship between his work on stage and in film, as well as the possibilities and limitations of the various forms. With the varied media at his disposal, Bergman is internationally the most versatile author-cum-director presently at work, well aware of what each medium can and cannot do and, most importantly, eager to test its borders. The book addresses itself not only to Bergman fans but also to all those interested in the aesthetic problems related to different presentational forms.
Memorable stills from great cinematic tradition — Ingeborg Holm (1913) to Wild Strawberries (1957). Complete credits, synopsis, commentary for each film. Introduction, critical biographies of directors.
100 Silent Films provides an authoritative and accessible history of silent cinema through one hundred of its most interesting and significant films. As Bryony Dixon contends, silent cinema is not a genre; it is the first 35 years of film history, a complex negotiation between art and commerce and a union of creativity and technology. At its most grand – on the big screen with a full orchestral accompaniment – it is magnificent, permitting a depth of emotional engagement rarely found in other fields of cinema. Silent film was hugely popular in its day, and its success enabled the development of large-scale film production in the United States and Europe. It was the start of our fascination with the moving image as a disseminator of information and as mass entertainment with its consequent celebrity culture. The digital revolution in the last few years and the restoration and reissue of archival treasures have contributed to a huge resurgence of interest in silent cinema. Bryony Dixon's illuminating guide introduces a wide range of films of the silent period (1895–1930), including classics such as The Birth of a Nation (1915), The General (1926), Metropolis (1927), Sunrise (1927) and Pandora's Box (1928), alongside more unexpected choices, and represents major genres and directors of the period – Griffith, Keaton, Chaplin, Murnau, Sjöström, Dovzhenko and Eisenstein – together with an introductory overview and useful filmographic and bibliographic information.
The Supernormal: Experiences by St. John D. Seymour: This book explores the idea of supernatural experiences and phenomena, and discusses various examples of such occurrences throughout history and across different cultures. The book raises important questions about the nature of reality and the limits of human perception and understanding. Key Aspects of the Book "The Supernormal: Experiences": Supernatural Phenomena: The book explores various examples of supernatural experiences and phenomena, and discusses different ways of interpreting and understanding them. Religion and Spirituality: The book considers the role of religion and spirituality in shaping beliefs about supernatural phenomena, and examines the ways in which different cultures approach these questions. Philosophy and Metaphysics: The book raises important questions about the nature of reality and the limits of human perception and understanding, and offers valuable insights for anyone interested in philosophy or metaphysics. St. John D. Seymour was a British author and theologian who lived in the late 19th and early 20th centuries. His book on supernatural experiences remains a valuable resource for anyone interested in the nature of reality and the mysteries of human experience.
One of the most visually striking traditions in cinema, for too long Expressionism has been a neglected critical category of research in film history and aesthetics. The fifteen essays in this anthology remedies this by revisiting key German films like The Cabinet of Dr. Caligari (1920) and Nosferatu (1922), and also provide original critical research into more obscure titles like Nerven (1919) and The Phantom Carriage (1921), films that were produced in the silent and early sound era in countries ranging from France, Sweden and Hungary, to the United States and Mexico. An innovative and wide-ranging collection, Expressionism in the Cinema re-canonizes the classical Expressionist aesthetic, extending the critical and historical discussion beyond pre-existing scholarship into comparative and interdisciplinary areas of film research that reach across national boundaries.
Despite its reputation as one of the greatest and most influential of all horror films, there is surprisingly little literature dedicated to Mario Bava's Black Sunday (1960), and this contribution to the Devil's Advocates series is the first single book dedicated to it. Martyn Conterio places the film in the historical context of being one of the first sound Italian horror films and how its success kick-started the Italian horror boom. The author considers the particularly Italian perspective on the gothic that the film pioneered and its fresh and pioneering approach to horror tropes such as the vampire and the witch and considers how the casting of British 'Scream Queen' Barbara Steele was crucial to the film's effectiveness and success.
Among the world's myriad cultures and their associated calendars, the idea of a "New Year" is relative and hardly specifies a universal celebration or even a universal point in time. Ways of celebrating the New Year range from the observances of religious rituals and superstitions to social gatherings featuring particular foods, music, dancing, noisemaking, fireworks and drinking. This first encyclopedia devoted exclusively to the New Year includes 320 entries that give a global perspective on the New Year, beyond its traditional Western associations with Christmas. National or regional entries detail the principal traditions and customs of 130 countries, while 27 entries discuss major calendar systems in current use or of significant historical interest. The remaining entries cover a wide variety of subjects including literary works, movies, and television specials; the customs of specific ethnic groups; universal customs such as toasting and drinking; football bowl games and parades; and the New Year celebrations at the White House and the Vatican.
