Now it can be told—here are the true stories of fifteen fearless filmmakers who defied the system…and won! This incredible book documents the real stories of Hollywood's true giants, the pioneers and crazed visionaries, the cinematic sorcerers without any scruples: magnificent men like Sam Katzman, Jim Wynorski, Fred Olen Ray, Jess Franco, and Edward D. Wood, Jr.
Who was it who said that a friend is someone you can phone in the middle of the night and say, "I've just killed a man" and he'll say "OK, where's the body?" Adrien and Bernard are lifelong friends and business partners. It's Bernard's fortieth birthday. But Adrien can't come. Adrien has a big night at his club. And the crash starts there. An intimate, fast moving, cruel and tender comedy about friendship, obsession and the absurdity of desire. An epic journey from small things to the big one."There are no rules for friendship, but there are...guidelines" Members Only opened at the Trafalgar Studios in March 2006.
Through changes in archival and industrial practices, the very pastness of vintage pornographic cinema becomes a source of both eroticism and cultural conflict.
By being too timid and too weak, too hesitant and too confused, Democrats have allowed Republicans to run amok. Republicans today control everything: the White House, the Congress, the Supreme Court, the federal bureaucracy, the military, and the corporate special interests and their lobbyists. They operate powerful right-wing organizations, right-wing think tanks, and a conservative media that serves as an attack dog against Democrats. Republicans have used their absolute power to corrupt our democracy, degrade our military, weaken our health care system, diminish our stature in the world, damage our environment, reward the rich, hammer the poor, squeeze the middle class, bankrupt our Treasury, and indenture our children to foreign debt holders. In this important book, James Carville and Paul Begala show Democrats how they can take it back. They offer a clear-eyed critique of their party's failures and make specific, concrete recommendations on how Democrats can avoid losing elections on divisive issues such as abortion, gun control, gay rights, and moral values and start winning them on health care, political reform, energy, the environment, tax reform, and more. Carville and Begala say that liberal Democrats are right that too many establishment Democrats kowtow to corporate interests and shamefully supported George W. Bush's rush to war. And moderate Democrats are right to complain that too many Democrats are out of step with middle-class values, too removed from people of faith, too enthralled with intellectual and cultural elites. But the problem with the Democrats, Carville and Begala argue, is not ideological. It's anatomical. They lack a backbone. Take It Back is a spinal transplant for Democrats and an audacious battle plan for victory.
While the pimps and players of blaxploitation movies dominated inner-city theaters, good old boys with muscle under their hoods and moonshine in their trunks roared onto drive-in screens throughout rural America. The popularity of these "hick flicks" grew throughout the '70s, and they attained mass acceptance with the 1977 release of Smokey and the Bandit. It marked the heyday of these regional favorites, but within a few short years, changing economic realities within the movie business and the collapse of the drive-in market would effectively spell the end of the so-called hixploitation genre. This comprehensive study of the hixploitation genre is the first of its kind. Chapters are divided into three major topics. Part One deals with "good ol' boys," from redneck sheriffs, to moonshiners, to honky-tonk heroes and beyond. Part Two explores road movies, featuring back-road racers, truckers and everything in between. Part Three, "In the Woods," covers movies about all manner of beasts--some of them human--populating the swamps and woodlands of rural America. Film stills are included, and an afterword examines both the decline and metamorphosis of the genre. A filmography, bibliography and index accompany the text.
A social history of the ‘video nasty’. In the early 1980s, video technology forever changed the face of home entertainment. The videocassette – a handy-sized cartridge of magnetic tape inside a plastic shell – domesticated cinema as families across Britain began to consume films in an entirely new way. Demand was high and the result was a video gold rush, with video rental outlets appearing on every high street almost overnight. Without moderation their shelves filled with all manner of films depicting unbridled sex and violence. A backlash was inevitable. Video was soon perceived as a threat to society, a view neatly summed up in the term ‘video nasties’. CANNIBAL ERROR chronicles the phenomenal rise of video culture through a tumultuous decade, its impact and its aftermath. Based on extensive research and interviews, the authors provide a first-hand account of Britain in the 1980s, when video became a scapegoat for a variety of social ills. It examines the confusion spawned by the Video Recordings Act 1984, the subsequent witch hunt that culminated in police raids and arrests, and offers insightful commentary on many contentious and ‘banned’ films that were cited by the media as influential factors in several murder cases. It also investigates the cottage industry in illicit films that developed as a direct result of the ‘video nasty’ clampdown. CANNIBAL ERROR, a revised and reworked edition of SEE NO EVIL (2000), is an exhaustive and startling overview of Britain’s ‘video nasty’ panic, the ramifications of which are still felt today.
John Carpenter's Halloween, released on October 25, 1978, marked the beginning of the horror film's most colorful, controversial, and successful offshoot--the slasher film. Loved by fans and reviled by critics for its iconic psychopaths, gory special effects, brainless teenagers in peril, and more than a bit of soft-core sex, the slasher film secured its legacy as a cultural phenomenon and continues to be popular today. This work traces the evolution of the slasher film from 1978 when it was a fledgling genre, through the early 1980s when it was one of the most profitable and prolific genres in Hollywood, on to its decline in popularity around 1986. An introduction provides a brief history of the Grand Guignol, the pre-cinema forerunner of the slasher film, films such as Psycho and The Texas Chainsaw Massacre, and cinematic trends that gave rise to the slasher film. Also explained are the slasher film's characteristics, conventions, and cinematic devices, such as the "final girl," the omnipotent killer, the relationship between sex and death, the significant date or setting, and the point-of-view of the killer. The chapters that follow are devoted to the years 1978 through 1986 and analyze significant films from each year. The Toolbox Murders, When a Stranger Calls, the Friday the 13th movies, My Bloody Valentine, The Slumber Party Massacre, Psycho II, and April Fool's Day are among those analyzed. The late 90s resurrection of slasher films, as seen in Scream and I Know What You Did Last Summer, is also explored, as well as the future direction of slasher films.
The New Historical Dictionary of the American Film Industry is a completely revised and updated edition of Anthony Slide's The American Film Industry, originally published in 1986 and recipient of the American Library Association's Outstanding Reference Book award for that year. More than 200 new entries have been added, and all original entries have been updated; each entry is followed by a short bibliography. As its predecessor, the new dictionary is unique in that it is not a who's who of the industry, but rather a what's what: a dictionary of producing and releasing companies, technical innovations, industry terms, studios, genres, color systems, institutions and organizations, etc. More than 800 entries include everything from Academy of Motion Pictures Arts and Sciences to Zoom Lens, from Astoria Studios to Zoetrope. Outstanding Reference Source - American Library Association
Go beyond the headlines of the Clinton-Lewinsky scandal and revisit the story of Monica Lewinsky in this authorized biography from Andrew Morton, the basis for the FX miniseries Impeachment. Monica Lewinsky. You know her name, you know her face, and you think you know her story: the pretty young intern who began an illicit affair with the President of the United States-- a liaison that ignited an unprecedented political scandal and found Bill Clinton as the second U.S. president to ever be impeached. But there is much more to the Monica Lewinsky story than just that. Andrew Morton, author of the #1 New York Times bestseller, Diana: Her True Story, takes you behind the headlines and the sound bites to discover the real Monica Lewinsky, a woman as interesting, intelligent, and misunderstood as they come. Read Monica's Story and you'll discover: * How a difficult childhood shaped Monica's tumultuous adult romances * Her relationship with Bill Clinton: how she saw a side to him few know-- and why she sometimes still missed her "Handsome" * The betrayal by Linda Tripp-- and how Monica's trusting nature snared her in Tripp's treacherous web * The horror of Kenneth Starr's exhaustive and intrusive inquiry-- how it affected her and her family, and how it still haunts her * What Monica's hopes were, in the wake of the scandal, from career plans, to marrying, and family life. * And much, much more With sixteen pages of photographs.
Patterns of production and consumption are foundation stones of contemporary media studies. Trash Aesthetics takes the audience as its starting point in a collection which explores aspects of audience response, interaction and manipulation.