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History of the AIP studio, famous for its cheap horror films and beach flicks.
The Creature from the Black Lagoon, the Tingler, the Mole People—they stalked and oozed into audiences’ minds during the era that followed Boris Karloff’s Frankenstein and preceded terrors like Freddy Krueger (A Nightmare on Elm Street) and Chucky (Child’s Play). Ghouls, Gimmicks, and Gold pulls off the masks and wipes away the slime to reveal how the monsters that frightened audiences in the 1950s and 1960s—and the movies they crawled and staggered through—reflected fundamental changes in the film industry. Providing the first economic history of the horror film, Kevin Heffernan shows how the production, distribution, and exhibition of horror movies changed as the studio era gave way to the conglomeration of New Hollywood. Heffernan argues that major cultural and economic shifts in the production and reception of horror films began at the time of the 3-d film cycle of 1953–54 and ended with the 1968 adoption of the Motion Picture Association of America’s ratings system and the subsequent development of the adult horror movie—epitomized by Rosemary’s Baby. He describes how this period presented a number of daunting challenges for movie exhibitors: the high costs of technological upgrade, competition with television, declining movie attendance, and a diminishing number of annual releases from the major movie studios. He explains that the production and distribution branches of the movie industry responded to these trends by cultivating a youth audience, co-producing features with the film industries of Europe and Asia, selling films to television, and intensifying representations of sex and violence. Shining through Ghouls, Gimmicks, and Gold is the delight of the true horror movie buff, the fan thrilled to find The Brain that Wouldn’t Die on television at 3 am.
The Persistence of Whiteness investigates the representation and narration of race in contemporary Hollywood cinema. Ideologies of class, ethnicity, gender, nation and sexuality are central concerns as are the growth of the business of filmmaking. Focusing on representations of Black, Asian, Jewish, Latina/o and Native Americans identities, this collection also shows how whiteness is a fact everywhere in contemporary Hollywood cinema, crossing audiences, authors, genres, studios and styles. Bringing together essays from respected film scholars, the collection covers a wide range of important films, including Guess Who’s Coming to Dinner, The Color Purple, Star Wars and The Lord of the Rings. Essays also consider genres from the western to blaxploitation and new black cinema; provocative filmmakers such as Melvin Van Peebles and Steven Spielberg and stars including Whoopi Goldberg and Jennifer Lopez. Daniel Bernardi provides an in-depth introduction, comprehensive bibliography and a helpful glossary of terms, thus providing students with an accessible and topical collection on race and ethnicity in contemporary cinema.
In 1984 Mr. McGee wrote ("very well"--Choice) the acclaimed Fast and Furious, a history of American International Pictures. But, as McGee wrote us in his out of the blue offer to do a bigger and better, "Because of my unnatural interest, I've never stopped." The result of his ceaseless efforts can be found in this updated and expanded look at AIP. From the time Sam Arkoff and Jim Nicholson founded the company, they dominated the low-budget film market with such teen-oriented movies as Beach Party, The Wild Angels and I Was a Teenage Werewolf. Their movies were frowned on by critics not because they were terrible (which they mostly were) but because they were so shameless in their intent--to make money. This new work includes the most comprehensive AIP filmography ever assembled, as well as many new photographs not included in the earlier work.
Honestly?. . . "Why wait for something when I can enjoy it now?" “These images don’t really affect me. . .do they?” "How could smoking a little weed really be that bad when it's becoming legalized everywhere?” “I’d like to tell you I don’t care what others think, but honestly, I want to be liked." Maybe you're thinking, "I've had one. . .maybe even a few of these thoughts, and I don't know how to even begin to deal with them." The good news? You're not alone. And there is a way to fight these battles head-on, overcoming the past, pressing forward, and becoming the person God designed you to be. So what's a guy to do? . . . Join youth culture expert and author of the popular Guy's Guide to God, Girls, and the Phone in Your Pocket, Jonathan McKee, as he gets real about the four common battles every young man will encounter in his life: 1: Sexual Temptation 2. Screens 3: Controlled Substances 4: Self-Esteem With humor and honesty, McKee offers up practical, spiritual advice filled with real-world application helping you face today’s distractions.
The author challenges the neglect of the 1970s in studies on teen film and youth culture by locating a number of subversive and critical narratives.
Seen as a land of sunshine and opportunity, the Golden State was a mecca for the post-World War II generation, and dreams of the California good life came to dominate the imagination of many Americans in the 1950s and 1960s. Nowhere was this more evident than in the explosion of California youth images in popular culture. Disneyland, television shows such as The Mickey Mouse Club, Gidget and other beach movies, the music of the Beach Boys--all these broadcast nationwide a lifestyle of carefree, wholesome fun supposedly enjoyed by white, middle-class, suburban young people in California. Tracing the rise of the California teen as a national icon, Kirse May shows how idealized images of a suburban youth culture soothed the nation's postwar nerves while denying racial and urban realities. Unsettling challenges to this mass-mediated picture began to arise in the mid-1960s, however, with the Free Speech Movement's campus revolt in Berkeley and race riots in Watts. In his 1966 campaign for the governorship of California, Ronald Reagan transformed the backlash against the "dangerous" youths who fueled these actions into political triumph. As May notes, Reagan's victory presaged a rising conservatism across the nation.
A feast for all his many fans and admirers, this is the great Humphrey LytteltonÕ s last book, a sparkling autobiographical kaleidoscope of memories, anecdotes, and entertaining stories from his colourful life, from his childhood as the son of a famous Eton Housemaster, through to his role as the irrepressible chairman of IÕ m Sorry I HavenÕ t a Clue. A Renaissance man Ð musician, writer, cartoonist, calligrapher and broadcaster Ð Humph was descended from a long line of land-owning, political, literary, clerical, scholastic and literary forebears. One of his more notorious relatives was executed for his part in the Gun Powder Plot! Last Chorus draws on some of HumphÕ s long-lost auto-biographical writings, as well a wealth of other material, including his never-before-seen private diaries, plus cartoons and Whether sneaking off when a child to buy his first trumpet, or wading ashore in Italy during World War II with a rifle in one hand and a trumpet in the other, or playing alongside such jazz greats as Louis Armstrong and Duke Ellington, Humph was very much his own man, and he comes vividly to life in this engaging and witty self-portrait. Every Monday night from 1967 until 2008, Humphrey Lyttelton wrote and presented BBCÕ s The Best of Jazz, and he was, famously, Chairman of the anarchic, award-winning radio programme, IÕ m Sorry, I HavenÕ t A Clue. He wrote nine books, and composed over two hundred tunes, and has Honorary Doctorates at the universities of Warwick, Loughborough, Durham, Keele, Hertford and de Montfort.
This groundbreaking reference work presents more than 100 articles by 98 high-profile interdisciplinary scholars, covering all aspects of girls' roles in American society, past and present. In this comprehensive, readable, two volume encyclopedia, experts from a variety of disciplines contribute pieces to the puzzle of what it means—and what it has meant over the last 400 years—to be a girl in America. The portrait that emerges reveals deep differences in girls' experiences depending on socioeconomic context, religious and ethnic traditions, family life, schools, institutions, and the messages of consumer and popular culture. Girls have been commodified, idealized, trivialized, eroticized, and shaped by the powerful forces of popular culture, from Little Women to Barbie. Yet girls are also powerful co-creators of the culture that shapes them, often cleverly subverting it to their own purposes. From Pocahantas to punk rockers, girls have been an integral, if overlooked and undervalued, part of American culture.