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James Avati (1912-2005) is regarded as the pre-eminent painter of paperback covers in the second half of the 20th century. He was known in the business as the 'King of the Paperbacks'. Avati designed realistic cover illustrations for novels by the likes of Steinbeck, Faulkner, Salinger, Caldwell and Moravia, covers that appealed directly to broad sections of the population. He worked for the New American Library (Signet Books) and for every other major paperback publisher including Bantam, Avon, Pocket, Fawcett and Dell. In this lavishly illustrated book graphic designer Piet Schreuders reconstructs Avati's life and 40-year career. During the past 25 years most of Avati's original paintings have been salvaged from the warehouses of American publishers and now fetch many thousands of dollars among collectors. Here, for the first time, Avati's universally admired work is available in full-size quality reproductions and expertly described.This is a paperback volumn with sewn signatures
While the undisputed heyday of folk horror was Britain in the 1960s and 1970s, the genre has not only a rich cinematic and literary prehistory, but directors and novelists around the world have also been reinventing folk horror for the contemporary moment. This study sets out to rethink the assumptions that have guided critical writing on the genre in the face of such expansions, with chapters exploring a range of subjects from the fiction of E. F. Benson to Scooby-Doo, video games, and community engagement with the Lancashire witches. In looking beyond Britain, the essays collected here extend folk horror's geographic terrain to map new conceptualisations of the genre now seen emerging from Italy, Ukraine, Thailand, Mexico and the Appalachian region of the US.
A History of Italian Cinema, 2nd edition is the much anticipated update from the author of the bestselling Italian Cinema - which has been published in four landmark editions and will celebrate its 35th anniversary in 2018. Building upon decades of research, Peter Bondanella and Federico Pacchioni reorganize the current History in order to keep the book fresh and responsive not only to the actual films being created in Italy in the twenty-first century but also to the rapidly changing priorities of Italian film studies and film scholars. The new edition brings the definitive history of the subject, from the birth of cinema to the present day, up to date with a revised filmography as well as more focused attention on the melodrama, the crime film, and the historical drama. The book is expanded to include a new generation of directors as well as to highlight themes such as gender issues, immigration, and media politics. Accessible, comprehensive, and heavily illustrated throughout, this is an essential purchase for any fan of Italian film.
Paperback Quarterly, journal of mass-market paperback history, Fall 1980, Volume 3 Number 3, contains: "Louis L'Amour's Pseudonymous Works," by John D. Nesbitt, "First Printing: Two Million," by Michael Barson, "Interview with John Jakes," by Michael Barson, "Reprints/Reprints: Ray Bradbury's FAHRENHEIT 451," by Bill Crider, "Agatha Christie in Dell Mapbacks," by Bill Lyles, "Soft Cover Sketches: an introduction," by Thomas L. Bonn, "Soft Cover Sketches: James Avati," by Thomas L. Bonn and "Collecting Original Paperback Cover Art," by Robert Weinberg.
Italian Gothic horror films of the 1970s were influenced by the violent giallo movies and adults-only comics of the era, resulting in a graphic approach to the genre. Stories often featured over-the-top violence and nudity and pushed the limits of what could be shown on the screen. The decade marked the return of specialist directors like Mario Bava, Riccardo Freda and Antonio Margheriti, and the emergence of new talents such as Pupi Avati (The House with the Laughing Windows) and Francesco Barilli (The Perfume of the Lady in Black). The author examines the Italian Gothic horror of the period, providing previously unpublished details and production data taken from official papers, original scripts and interviews with filmmakers, scriptwriters and actors. Entries include complete cast and crew lists, plot summaries, production history and analysis. An appendix covers Italian made-for-TV films and mini-series.
The Italian cinema is regarded as one of the great pillars of world cinema. Films like Ladri di biciclette (1948), La dolce vita (1960), and Nuovo cinema Paradiso (1988) attracted unprecedented international acclaim and a reputation, which only continue to grow. Italian cinema has produced such acting legends as Sophia Loren and Roberto Benigni, as well as world-renowned filmmakers like Federico Fellini, Sergio Leone, Mario Bava, Dario Argento, and Lina WertmYller, the first woman to ever be nominated for the Best Director award. The A to Z of Italian Cinema provides a better understanding of the role Italian cinema has played in film history through a chronology, an introductory essay, a bibliography, appendixes, black-&-white photos, and hundreds of cross-referenced dictionary entries on actors, actresses, movies, producers, organizations, awards, film credits, and terminology.