Encounter the John Stanley who hosted Creature Features in the Bay Area (1979-84) and meet the John Stanley who covered movie and TV celebrities for the San Francisco Chronicle (1960-1993). Together, they take you into the incredible worlds of sci-fi/fantasy/horror!
Bay Area broadcast legend John Stanley looks back on his career hosting the popular "Creature Feature" series, as well as the detailed history of how retired horror hosts Bob Wilkins and Stanley "rose from the dead" in 1999 and began making special appearances in the San Francisco Bay Area, attracting those who grew up watching them as well as a whole new generation of fans. Also, featuring interviews with the Hollywood legends Stanley crossed paths with: THE LEGACY OF STAR WARS: Meet Carrie Fisher, Mark Hamill, Billy Dee Williams, David Prowse, Frank Oz, Irvin Kershner and Gary Kurtz THE LEGENDS OF SUPERMAN: Christopher Reeve, Kirk Alyn and Dean Cain; and the Lois Lane Gang: Noel Neill, Phyllis Coates, and Teri Hatcher. Plus Sarah Douglas as villainous Ursa. FANTASY AUTHORS SURPREME: Ray Bradbury (left), Robert "Psycho" Bloch and Stephen King reveal their deepest and darkest thoughts. AND MORE! Marvel legend Stan Lee! Batman Adam West and Robin Burt Ward! TV's Spider-man Nicholas Hammond! PLUS: Star Trek! Flash Gordon! Creature from the Black Lagoon! Alien! Buck Rogers! And Conan himself, Arnold Schwarzenegger!
Ingrid Pitt, icon of horror cinema: her life and career. Full cast and production credits, synopses, reviews and notes are offered for all of her film, stage and television appearances, along with a critical listing of her novels and other published works. An analysis of Hammer Films' Karnstein Trilogy--of which Pitt's celebrated The Vampire Lovers (1970) was the first installment--is included, and also examined is the trilogy's original literary source, Sheridan Le Fanu's "Carmilla." Other features are rare photographs and other movie-related graphics from every phase of the actress' career and a foreword by Ingrid Pitt herself.
Updated to include the most movie mega-hits, this sci-fi, fantasy, and horror movie guide has it all--the shockers, schlockers, blockbusters, bombs, cult faves, rare gems, classics, groundbreakers, gorefests, space operas, sorcery, Euro-splatter, and everything in between.
Those stories you hear? The ones about things that only come out at night? Things that feed on blood, feed on us? Got news for you: they’re true. Only it’s not like the movies or old man Stoker’s storybook. It’s worse. Especially if you happen to be one of them. Just ask Joe Pitt. There’s a shambler on the loose. Some fool who got himself infected with a flesh-eating bacteria is lurching around, trying to munch on folks’ brains. Joe hates shamblers, but he’s still the one who has to deal with them. That’s just the kind of life he has. Except afterlife might be better word. From the Battery to the Bronx, and from river to river, Manhattan is crawling with Vampyres. Joe is one of them, and he’s not happy about it. Yeah, he gets to be stronger and faster than you, and he’s tough as nails and hard to kill. But spending his nights trying to score a pint of blood to feed the Vyrus that’s eating at him isn’t his idea of a good time. And Joe doesn’t make it any easier on himself. Going his own way, refusing to ally with the Clans that run the undead underside of Manhattan–it ain’t easy. It’s worse once he gets mixed up with the Coalition–the city’s most powerful Clan–and finds himself searching for a poor little rich girl who’s gone missing in Alphabet City. Now the Coalition and the girl’s high-society parents are breathing down his neck, anarchist Vampyres are pushing him around, and a crazy Vampyre cult is stalking him. No time to complain, though. Got to find that girl and kill that shambler before the whip comes down . . . and before the sun comes up.
Horror is one of the most enduring and controversial of all cinematic genres. Horror films range from subtle and poetic to graphic and gory, but what links them together is their ability to frighten, disturb, shock, provoke, delight, irritate, and amuse audiences. Horror’s capacity to take the form of our evolving fears and anxieties has ensured not only its notoriety but also its long-term survival and international popularity. This second edition has been comprehensively updated to capture all that is important and exciting about the horror genre as it exists today. Its new entries feature the creative personalities who have developed innovative forms of horror, and recent major films and cycles of films that ensure horror’s continuing popularity and significance. In addition, many of the other entries have been expanded to include reference to the contemporary scene, giving a clear picture of how horror cinema is constantly renewing and transforming itself. The Historical Dictionary of Horror Cinema traces the development of the genre from its beginnings to the present. This is done through a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced dictionary entries. The entries cover all major movie villains, including Frankenstein and his monsters, the vampire, the werewolf, the mummy, the zombie, the ghost and the serial killer; film directors, producers, writers, actors, cinematographers, make-up artists, special-effects technicians, and composers who have helped shape horror history; significant production companies; major films that are milestones in the development of the horror genre; and different national traditions in horror cinema – as well as popular themes, formats, conventions, and cycles.
A man must confront a terrifying evil in this captivating horror novel that's "as much F. Scott Fitzgerald as Dean Koontz."* Haunted by memories of the Great War, failed academic Frank Nichols and his wife have arrived in the sleepy Georgia town of Whitbrow, where Frank hopes to write a history of his family's old estate--the Savoyard Plantation--and the horrors that occurred there. At first their new life seems to be everything they wanted. But under the facade of summer socials and small-town charm, there is an unspoken dread that the townsfolk have lived with for generations. A presence that demands sacrifice. It comes from the shadowy woods across the river, where the ruins of the Savoyard Plantation still stand. Where a long-smoldering debt of blood has never been forgotten. Where it has been waiting for Frank Nichols....
Bollywood Horrors is a wide-ranging collection that examines the religious aspects of horror imagery, representations of real-life horror in the movies, and the ways in which Hindi films have projected cinematic fears onto the screen. Part one, “Material Cultures and Prehistories of Horror in South Asia” looks at horror movie posters and song booklets and the surprising role of religion in the importation of Gothic tropes into Indian films, told through the little-known story of Sir Devendra Prasad Varma. Part two, “Cinematic Horror, Iconography and Aesthetics” examines the stereotype of the tantric magician found in Indian literature beginning in the medieval period, cinematic representations of the myth of the fearsome goddess Durga's slaying of the Buffalo Demon, and the influence of epic mythology and Hollywood thrillers on the 2002 film Raaz. The final part, “Cultural Horror,” analyzes elements of horror in Indian cinema's depiction of human trafficking, shifting gender roles, the rape-revenge cycle, and communal violence. This book also features images (colour in the hardback, black and white in the paperback).
David Pirie's acclaimed history of British gothic film and television has long been regarded as a foundational study of the roots of British horror, identifying it as 'the only staple cinematic myth which Britain can properly claim as its own.' This edition has been revised and updated to include discussion of films and TV dramas that have been newly discovered, restored or released since publication of the previous edition in 2007, as well as addressing newly-emergent screenwriters, directors and genres. Drawing on insider accounts and archival sources, David Pirie investigates the notion of horror versus realism in popular fiction, and analyses the horror boom that developed around films including The Others and 28 Days Later. He chronicles British horror cinema from its origins in Gothic literature traces the rise of Hammer Films, its key directors and films as well as its battles with the censors, explores major horror sub genres including comedy horror and sci-fi, and brings the story up to the present day, where horror is flourishing in new ways, with films such as Shaun of the Dead, Under the Skin and Censor; the rise of genres such as folk horror and films that tackle questions of race and gender, and the emergence of a new generation of writers and directors including Prano Bailey-Bond, Ben Wheatley and Edgar Wright.