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Collection of essays previously published in magazines and newspapers.
Bad Girls Go to Hell. Cannibal Holocaust. Eve and the Handyman. Examining film culture’s ongoing fascination with the low, bad, and sleazy faces of cinema, Sleaze Artists brings together film scholars with a shared interest in the questions posed by disreputable movies and suspect cinema. They explore the ineffable quality of “sleaze” in relation to a range of issues, including the production realities of low-budget exploitation pictures and the ever-shifting terrain of reception and taste. Writing about horror, exploitation, and sexploitation films, the contributors delve into topics ranging from the place of the “Aztec horror film” in debates about Mexican national identity to a cycle of 1960s films exploring homosexual desire in the military. One contributor charts the distribution saga of Mario Bava’s 1972 film Lisa and the Devil through the highs and lows of art cinema, fringe television, grindhouse circuits, and connoisseur DVD markets. Another offers a new perspective on the work of Doris Wishman, the New York housewife turned sexploitation director of the 1960s who has become a cult figure in bad-cinema circles over the past decade. Other contributors analyze the relation between image and sound in sexploitation films and Italian horror movies, the advertising strategies adopted by sexploitation producers during the early 1960s, the relationship between art and trash in Todd Haynes’s oeuvre, and the ways that the Friday the 13th series complicates the distinction between “trash” and “legitimate” cinema. The volume closes with an essay on why cinephiles love to hate the movies. Contributors. Harry M. Benshoff, Kay Dickinson, Chris Fujiwara, Colin Gunckel, Joan Hawkins, Kevin Heffernan, Matt Hills, Chuck Kleinhans, Tania Modleski, Eric Schaefer, Jeffrey Sconce, Greg Taylor
Notes from a bibliophile on the lure of rare and first editions, the beauty of dust jackets, the thrill of browsing in antiquarian bookshops, the bibliomania of book thieves, movies about books, and the inner life of a reader. The Groaning Shelf is not so much a book about books as a book about books about books. These little essays capture the drama of bookish obsession, the joys and snares of the bookish life and the pleasures of bibliophily.
An affecting memoir from one of America's most provocative humorists Over the past two decades, Joe Queenan has established himself as a scourge of everything that is half-baked, half-witted, and halfhearted in American culture. In Closing Time, Queenan turns his sights on a more serious and a more personal topic: his childhood in a Philadelphia housing project in the early 1960s. By turns hilarious and heartbreaking, Closing Time recounts Queenan's Irish Catholic upbringing in a family dominated by his erratic, alcoholic father, and his long flight away from the dismal confines of his neighborhood into the greater, wide world. A story about salvation and escape, Closing Time has at its heart the makings of a classic American autobiography.
One of America’s leading humorists and author of the bestseller Closing Time examines his own obsession with books Joe Queenan became a voracious reader as a means of escape from a joyless childhood in a Philadelphia housing project. In the years since then he has dedicated himself to an assortment of idiosyncratic reading challenges: spending a year reading only short books, spending a year reading books he always suspected he would hate, spending a year reading books he picked with his eyes closed. In One for the Books, Queenan tries to come to terms with his own eccentric reading style—how many more books will he have time to read in his lifetime? Why does he refuse to read books hailed by reviewers as “astonishing”? Why does he refuse to lend out books? Will he ever buy an e-book? Why does he habitually read thirty to forty books simultaneously? Why are there so many people to whom the above questions do not even matter—and what do they read? Acerbically funny yet passionate and oddly affectionate, One for the Books is a reading experience that true book lovers will find unforgettable.
What is snark? You recognize it when you see it -- a tone of teasing, snide, undermining abuse, nasty and knowing, that is spreading like pinkeye through the media and threatening to take over how Americans converse with each other and what they can count on as true. Snark attempts to steal someone's mojo, erase her cool, annihilate her effectiveness. In this sharp and witty polemic, New Yorker critic and bestselling author David Denby takes on the snarkers, naming the nine principles of snark -- the standard techniques its practitioners use to poison their arrows. Snarkers like to think they are deploying wit, but mostly they are exposing the seethe and snarl of an unhappy country, releasing bad feeling but little laughter. In this highly entertaining essay, Denby traces the history of snark through the ages, starting with its invention as personal insult in the drinking clubs of ancient Athens, tracking its development all the way to the age of the Internet, where it has become the sole purpose and style of many media, political, and celebrity Web sites. Snark releases the anguish of the dispossessed, envious, and frightened; it flows when a dying class of the powerful struggles to keep the barbarians outside the gates, or, alternately, when those outsiders want to take over the halls of the powerful and expel the office-holders. Snark was behind the London-based magazine Private Eye, launched amid the dying embers of the British empire in 1961; it was also central to the career-hungry, New York-based magazine Spy. It has flourished over the years in the works of everyone from the startling Roman poet Juvenal to Alexander Pope to Tom Wolfe to a million commenters snarling at other people behind handles. Thanks to the grand dame of snark, it has a prominent place twice a week on the opinion page of the New York Times. Denby has fun snarking the snarkers, expelling the bums and promoting the true wits, but he is also making a serious point: the Internet has put snark on steroids. In politics, snark means the lowest, most insinuating and insulting side can win. For the young, a savage piece of gossip could ruin a reputation and possibly a future career. And for all of us, snark just sucks the humor out of life. Denby defends the right of any of us to be cruel, but shows us how the real pros pull it off. Snark, he says, is for the amateurs.
Inspirational guide expounds a new approach to success in show business. Rejects the notion that actors must have a 'break' to get ahead.
A compendium of profiles, interviews, and reviews published by the South Carolina book review editor Art and Craft presents the hand-picked fruit of Bill Thompson's three decades covering writers and writing as book review editor of Charleston, South Carolina's Post and Courier. Beginning with a foreword by Charleston novelist Josephine Humphreys, this collection is a compendium of interviews featuring some of the most distinguished novelists and nonfiction writers in America and abroad, including Tom Wolfe, Pat Conroy, Joyce Carol Oates, Rick Bragg, and Anthony Bourdain, as well as many South Carolinians. With ten thematic chapters ranging from the Southern Renaissance, literature, biography, and travel writing to crime fiction and Civil War history, Art and Craft also includes a sampling of Thompson's reviews. A foreword is written by South Carolina novelist Josephine Humphreys, who is author of Dreams of Sleep (winner of the 1985 Ernest Hemingway Award for First Fiction), Rich in Love (made into a major motion picture), The Fireman's Fair, and Nowhere Else on Earth. Featuring: Jack Bass, Rick Bragg, Roy Blount, Jr., Robin Cook, Pat Conroy, Patricia Cornwell, Dorothea Benton Frank, Herb Frazier, Sue Grafton, Carl Hiaasen, Sue Monk Kidd, Brian Lamb, Bret Lott, Jill McCorkle, James McPherson, Mary Alice Monroe, Joyce Carol Oates, Carl Reiner, Dori Sanders, Charles Seabrook, Anne Rivers Siddons, Lee Smith, Mickey Spillane, Paul Theroux, Tom Wolfe
The author of the bestselling Red Lobster, White Trash, and the Blue Lagoon takes aim at the boomer generation in a hilarious work of social commentary. It's become fashionable to vilify baby boomers. Professional iconoclast and baby boomer Joe Queenan, however, takes a somewhat more benign position: Yes, the baby boomers are venal, self-obsessed egomaniacs blighted by an insalubrious interest in things like the provenance of their neighbors' balsamic vinegar. But this does not make them the "worst generation" -- it just makes them the most annoying. In Balsamic Dreams, Queenan chronicles the evolution of his generation and critiques its current condition in chapters such as: --J'Accuse: a bold indictment of the boomers' greatest transgressions, past and present --Ten Days That Rocked the World: in which Queenan identifies the precise moments things went awry (#1: the release of Carole King's Tapestry) --Careful, the Staff Might Hear You: an examination of the unspoken, nefarious alliance between baby boomers and Generation X --American History: The B-Sides: an alternative version of the Republic as played out with baby boomers in the starring roles A measured (if a tad cranky) assessment of a generation whose greatest sin lies in confusing lifestyle for life and pop culture for culture, Balsamic Dreams is fresh, funny, and irresistible.
In this hilarious romp through England, one of America's preeminent humorists seeks the answer to an eternal question: What makes the Brits tick? One semitropical Fourth of July, Joe Queenan's English wife suggested that the family might like a chicken vindaloo in lieu of the customary barbecue. It was this pitiless act of gastronomic cultural oppression, coupled with dread of the fearsome Christmas pudding that awaited him for dessert, that inspired the author to make a solitary pilgrimage to Great Britain. Freed from the obligation to visit an unending procession of Aunty Margarets and Cousin Robins, as he had done for the first twenty-six years of their marriage, Queenan decided that he would not come back from Albion until he had finally penetrated the limey heart of darkness. His trip was not in vain. Crisscrossing Old Blighty like Cromwell hunting Papists, Queenan finally came to terms with the choochiness, squiffiness, ponciness, and sticky wicketness that lie at the heart of the British character. Here he is trying to find out whose idea it was to impale King Edward II on a red-hot poker-and what this says about English sexual politics. Here he is in an Edinburgh pub foolishly trying to defend Paul McCartney's "Ebony and Ivory." And here he is, trapped in a concert hall with a Coventry-based all-Brit Eagles tribute band named Talon who resent that they are nowhere near as famous as their evil nemeses, the Illegal Eagles. At the end of his epic adventure, the author returns chastened, none the wiser, but encouraged that his wife is actually as sane as she is, in light of her fellow countrymen.