A collaboration of the three internationally-renowned artists in the field of erotic illustrations - Hajime Sorayama, Rockin' Jelly Bean and Katsuya Terada - showcasing high quality and tasteful art works at each turn of a page.
Russ Meyer's Faster, Pussycat! Kill! Kill! (1965) is an enigma. A box-office failure when initially released on the grindhouse circuit, it has since been embraced by art-house audiences, and referenced in countless films, television series, and songs. A riot of styles and story clichés lifted from biker, juvenile delinquency, and beach party movies, it has the coherence of a dream, and the improvisatory daring of a jazz solo. John Waters has called it the greatest movie ever made, and Quentin Tarantino has long promised to remake it. But what draws them, and so many other cult fans to Pussycat? To help answer that question, this book looks at the production and critical reception of the film, its place within the cultural history of the 1960s, its representations of gender and sexuality, and the specific ways it meets the criteria of a cult film.
Russ Meyer, cult hero, creator of the sexploitation film, and the man the Wall Street Journal called the King Leer of Hollywood, made movies that filled the big screen with “big bosoms and square jaws.” In the first candid and fiendishly researched account of the late cinematic instigator’s life, Jimmy McDonough shows us how Russ Meyer used that formula to turn his own crazed fantasies into movies that made him a millionaire and changed the face of American film forever. This former WWII combat photographer immortalized his personal sexual obsession upon the silver screen, creating box-office gold with The Immoral Mr. Teas in 1959. The modest little film pushed all preexisting limits of on-screen nudity, and with its success, the floodgates of what was permitted to be shown on film were thrust open, never to be closed again. Russ Meyer ignited a true revolution in filmmaking, breaking all sex, nudity, and violence taboos. In a career that spanned more than forty years, Meyer created a body of work that has influenced a legion of filmmakers, fashionistas, comic book artists, rock bands, and even the occasional feminist. Bringing his anecdote- and action-packed biographical style to another renegade of popular culture, New York Times bestselling author of Shakey Jimmy McDonough offers a wild, warts-and-all portrait of Russ Meyer, the director, writer, producer, and commando moviemaking force behind the sexploitation classics Vixen, Beyond the Valley of the Dolls, Faster, Pussycat! Kill! Kill! and many others. Big Bosoms and Square Jaws blows the lid off the story of Russ Meyer, from the beginning to his recent tragic demise, creating in the process a vivid portrait of a past America.
Phallacies: Historical Intersections of Disability and Masculinity is a collection of essays that focuses on disabled men who negotiate their masculinity as well as their disability. Essays include war-related disabilities, male hysteria, suicide clubs, mercy killings, and portraits of disabled men in literature and popular culture.
A completely redesigned issue of Daniel Clowes masterpiece of surrealistic and cinematic low-life drama which collects together all 10 chapters of Eightball's terrifying and fascinating journey into madness. As Clay Loudermilk attempts to unravel the mysteries behind a snuff film, he finds himself involved with an increasingly bizarre cast of characters. Clowes reputation as a graphic novel artist is renowned throughout the comic world, and he is set to reach a wider audience next year with the release of the film Ghost World, directed by Terry Zwigoff.
Russ Meyer is the breast-fixated filmmaker who started as a nude pin-up photographer and progressed through his own startling brand of B-cinema to direct probably the most bizarre film ever funded by a major Hollywood -studio-"Beyond the Valley of the Dolls," Meyer's 1960s films-including "Mudhoney, Motorpsycho!" and the legendary "Faster, Pussycat! Kill! Kill!"-are now venerated as modern classics, and "Lips Hips Tits Power" examines Meyer's entire cinematic oeuvre in -detail, affording it the serious analysis it undeniably warrants. Featuring famous girls from Meyer's repertory company such as Tura Satana, Kitten Natividad, Uschi Digard, Haji and Erica Gavin, "Lips Hips Tits Power" offers a visual feast of buxotic female flesh to offset its critical commentary, resulting in a book which operates on two-equally stimulating-levels.
A GIANT 512-page collection of Katsuya Terada's RAKUGAKI sketches and illustrations. The one and only legendary illustrator Katsuya Terada, a.k.a RAKUGAKING (The Sketch King) and well known as a pioneer who is always seeking new ideas and motifs for his drawings, has finally revealed his RAKUGAKI sketches and illustrations, long kept in his sketch book. Although most illustrations in this collection have appeared in Terada's previous international exhibitions (e.g., Giant Robot in Los Angeles), never before has any book collected so many of his RAKUGAKI. This is the best and most comprehensive collection of Katsuya Terada's pencil sketches, making it a must-have book for both his hardcore fans and also to illustrators in general.
Russ Meyer's Faster, Pussycat! Kill! Kill! (1965) is an enigma. A box-office failure when initially released on the grindhouse circuit, it has since been embraced by art-house audiences, and referenced in countless films, television series, and songs. A riot of styles and story clichés lifted from biker, juvenile delinquency, and beach party movies, it has the coherence of a dream, and the improvisatory daring of a jazz solo. John Waters has called it the greatest movie ever made, and Quentin Tarantino has long promised to remake it. But what draws them, and so many other cult fans to Pussycat? To help answer that question, this book looks at the production and critical reception of the film, its place within the cultural history of the 1960s, its representations of gender and sexuality, and the specific ways it meets the criteria of a cult film.
From the late 50s to the 1980s, Russ Meyer's career left landmarks on the cultural map of the movie industry. His trademark was the large-breasted, dominant, heroic woman. The editor offers a useful film companion to Meyer's oeuvre.
The Road Movie Book is the first comprehensive study of an enduring but ever-changing Hollywood genre, its place in American culture, and its legacy to world cinema. The road and the cinema both flourished in the twentieth century, as technological advances brought motion pictures to a mass audience and the mass produced automobile opened up the road to the ordinary American. When Jean Baudrillard equated modern American culture with 'space, speed, cinema, technology' he could just as easily have added that the road movie is its supreme emblem. The contributors explore how the road movie has confronted and represented issues of nationhood, sexuality, gender, class and race. They map the generic terrain of the road movie, trace its evolution on American television as well as on the big screen from the 1930s through the 1980s, and, finally, consider road movies that go off the road, departing from the US landscape or travelling on the margins of contemporary American culture. Movies discussed include: * Road classics such as It Happened One Night, The Grapes of Wrath, The Wizard of Oz and the Bob Hope-Bing Crosby Road to films * 1960's reworkings of the road movie in Easy Rider and Bonnie and Clyde * Russ Meyer's road movies: from Motorpsycho! to Faster Pussycat! Kill! Kill! * Contemporary hits such as Paris Texas, Rain Man, Natural Born Killers and Thelma and Louise * The road movie, Australian style, from Mad Max to the Adventures of Priscilla, Queen of the Desert.