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BIRDEMIC: The Romantic Thriller That Became a Cult Sensation tells the fascinating and inspiring true story of the new American cult classic BIRDEMIC - Shock and Terror. Told from the personal perspective of the film's visionary creator, Director James Nguyen who is among the new generation of auteurs in the 21st Century, BIRDEMIC - Shock and Terror became what Nguyen likes to call "a cult sensation hit movie!" Produced for less than $10,000, this meditation on Hitchcock's classic and the environmental chaos caused by the Industrial Age garnered front page coverage from The New York Times, in addition to stories broadcast on CBS Morning News, ABC World News With Diane Sawyer and BBC World News.
This first full-length scholarly study about animal horror cinema defines the popular subgenre and describes its origin and history in the West. The chapters explore a variety of animal horror films from a number of different perspectives. This is an indispensable study for students and scholars of cinema, horror and animal studies.
"In 2003, an independent film called The room ... made its disastrous debut in Los Angeles. Described by one reviewer as 'like getting stabbed in the head,' the six-million-dollar film earned a grand total of $1800 at the box office and closed after two weeks. Ten years later, The room is an international cult phenomenon ... In [this book], actor Greg Sestero, Tommy's costar and longtime best friend, recounts the film's long, strange journey to infamy, unraveling mysteries for fans ... as well as the question that plagues the uninitiated: how the hell did a movie this awful ever get made?"--
This cutting-edge collection features original essays by eminent scholars on one of cinema's most dynamic and enduringly popular genres, covering everything from the history of horror movies to the latest critical approaches. Contributors include many of the finest academics working in the field, as well as exciting younger scholars Varied and comprehensive coverage, from the history of horror to broader issues of censorship, gender, and sexuality Covers both English-language and non-English horror film traditions Key topics include horror film aesthetics, theoretical approaches, distribution, art house cinema, ethnographic surrealism, and horror's relation to documentary film practice A thorough treatment of this dynamic film genre suited to scholars and enthusiasts alike
Have you ever wondered whether a movie you are watching was filmed in San Francisco or the Bay Area? More than 600 movies, from blockbuster features to lesser-known indies, have been entirely or partially set in the region since 1927, when talkies made their debut. This essential publication will satisfy your curiosity and identify locations. Beyond the matter-of-fact location information, this book tells the stories behind the films and about the sites used. It also highlights those actors, directors, or technical staff who originated from the Bay Area or have come to call it home.
In this groundbreaking work, author David Scott Diffrient explores largely understudied facets of cinematic horror, from the various odors permeating classic and contemporary films to the wetness, sliminess, and stickiness of these productions, which, he argues, practically scream out for a tactile mode of textural analysis as much as they call for more traditional forms of textual analysis. Dating back to Carol Clover’s and Linda Williams’s pioneering work on horror cinema, film scholars have long conceptualized this once-disreputable category of cultural production as a “body genre.” However, despite the growing recognition that horror serves important biological and social functions in our lives, scholars have only scratched the surface of this genre with regard to its affective, corporeal, and sensorial appeals. Diffrient anatomizes horror films in much the same way that a mad scientist might handle the body, separating and recombining constitutive parts into a new analytical whole. Further, he challenges the tendency of scholars to privilege human over nonhuman beings and calls into question ableist assumptions about the centrality to horror films of sight and sound to the near exclusion of other forms of sense experience. In addition to examining the role that animals—living or dead, real or fake—play in human-centered fictions, this volume asks what it means for audiences to consume motion pictures in which actors, stunt performers, and other creative personnel have put their own bodies and lives at risk for our amusement. Historically grounded and theoretically expansive, Body Genre: Anatomy of the Horror Film moves the study of cinematic horror into previously unchartered waters and breathes life into a subject that, not coincidentally, is intimately connected to breathing as our most cherished dividing line between life and death.
A collection of closely related essays on cult film, cult adaptations, and cultism as a way of life.
In this book, film critic Steve Hutchison presents 113 of the worst horror movies ever made. Each article contains a rating, a synopsis, and a review. The films are ranked according to the sum of eight ratings. How many have you seen?
When it comes to horror movie brutality, the gorier the merrier. Gore feeds a fascination for mutilation and the vulnerability of the human body. It can be fun and it can be overwhelming. It can make you laugh and it can make you look away. In this book, I rate and review 263 splatter films. How many have you seen?
This volume explores the lower reaches of cinema and its paradoxical appeal. It looks at films from the B-movies of the 1930s to the mockbusters of today, and from the New York underground to the genre variations of Turkey's Yesilçam studios (and their YouTube afterlife). Critically examining the reasons for studying, denigrating, or celebrating the detritus of film history, it also considers the place of a trash aesthetic within and beyond 1960s American avant-garde and looks at the cult of trash in the fanzines of the 1980s. It draws on debates about cult, paracinema, and camp, arguing that trash cinema exists in relation to these but brings with it a particular history that includes the ordinary as well as the strange. Trash Cinema places these debates, and the strand of self-proclaimed low culture that emerged in the second half of the twentieth century, within a historical and international perspective. It focuses on American cinema history but addresses Eurotrash reception as well as the related field of garbology, examining trash cinema as a distinct but fluid category.