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Most books about B-movies are straight-forward genre guides, biographies or encyclopaedias. Not this one. In addition to chapters on film showmen, gimmicks and cult films, Land of a Thousand Balconies documents those incidents and unusual film happenings which author Jack Stevenson has -- over the past fifteen years -- been privy to in his various capacities as show organiser, tour arranger, festival jury member and projectionist-for-hire. Land of a Thousand Balconies also focuses on movie theatres and renegade exhibition spaces, lamenting on the disappearing 'sense of place' that is such an integral part of the movie-going experience. Here the reader is invited to tour a diversity of venues -- from the notorious old grindhouses of San Francisco, the home-made store-front cinemas of Seattle and NY, through to the underground film clubs of Europe. Book jacket.
Film and television create worlds, but they are also of a world, a world that is made up of stuff, to which humans attach meaning. Think of the last time you watched a movie: the chair you sat in, the snacks you ate, the people around you, maybe the beer or joint you consumed to help you unwind—all this stuff shaped your experience of media and its influence on you. The material culture around film and television changes how we make sense of their content, not to mention the very concepts of the mediums. Focusing on material cultures of film and television reception, The Stuff of Spectatorship argues that the things we share space with and consume as we consume television and film influence the meaning we gather from them. This book examines the roles that six different material cultures have played in film and television culture since the 1970s—including video marketing, branded merchandise, drugs and alcohol, and even gun violence—and shows how objects considered peripheral to film and television culture are in fact central to its past and future.
The leading journal devoted to all aspects of popular culture and cult media, Headpress 25 turns its attention to the Dream, or Flicker, Machine. Featuring interviews with William Burroughs and Paul Bowles, Headpress 25 also includes a detailed look at the neglected life and career of the late Luis de Jesus, a star of diminutive stature whose film appearances range from sadistic sidekick in the cult 1976 feature Blood Sucking Freaks, to numerous hardcore porn features, of which the most notorious is The Anal Dwarf.
Cult Cinema: an Introduction presents the first in-depth academic examination of all aspects of the field of cult cinema, including audiences, genres, and theoretical perspectives. Represents the first exhaustive introduction to cult cinema Offers a scholarly treatment of a hotly contested topic at the center of current academic debate Covers audience reactions, aesthetics, genres, theories of cult cinema, as well as historical insights into the topic
Utilising in-depth reviews, cast and plot details, Slimetime wallows in those films which the world has deemed it best to forget - everything from cheesy no-budget exploitation to the embarrassing efforts of Major Studios. Many of these films have never seen a major release, some were big hits, and others have simply vanished. To compliment the wealth of reviews on sci-fi, schlock, flower power and puppet people films are detailed essays on specific sleaze genres such as Biker, Blaxploitation and Drug movies. Fully updated and revised with new reviews and new illustrations.
This collection of essays represents key contributions to 'transgression cinema:' overlooked, forgotten, or under-analyzed movies that walk the fine line between 'arthouse' and 'grindhouse' film.
The words “Asian American film” might evoke a painfully earnest, low-budget documentary or family drama, destined to be seen only in small film festivals or on PBS (Public Broadcasting Service). In her groundbreaking study of the past fifty years of Asian American film and video, Jun Okada demonstrates that although this stereotype is not entirely unfounded, a remarkably diverse range of Asian American filmmaking has emerged. Yet Okada also reveals how the legacy of institutional funding and the “PBS style” unites these filmmakers, whether they are working within that system or setting themselves in opposition to its conventions. Making Asian American Film and Video explores how the genre has served as a flashpoint for debates about what constitutes Asian American identity. Tracing a history of how Asian American film was initially conceived as a form of public-interest media, part of a broader effort to give voice to underrepresented American minorities, Okada shows why this seemingly well-intentioned project inspired deeply ambivalent responses. In addition, she considers a number of Asian American filmmakers who have opted out of producing state-funded films, from Wayne Wang to Gregg Araki to Justin Lin. Okada gives us a unique behind-the-scenes look at the various institutions that have bankrolled and distributed Asian American films, revealing the dynamic interplay between commercial and state-run media. More than just a history of Asian Americans in film, Making Asian American Film and Video is an insightful meditation on both the achievements and the limitations of institutionalized multiculturalism.
• Includes never-before-published material from LaVey, including transcripts from his never-released “Hail Satan!” video • Shares in-depth interviews with intimate friends and collaborators, including LaVey’s partner Blanche Barton, his son Xerxes LaVey, and current heads of the Church of Satan Peter Gilmore and Peggy Nadramia • Provides inside accounts of the Church of Satan and activities at the Black House, personal stories and anecdotes from the very colorful life of the Black Pope, and firsthand explanations of key principles of LaVey’s philosophy With his creation of the infamous Church of Satan in 1966 and his bestselling book The Satanic Bible in 1969, Anton Szandor LaVey (1930-1997) became a controversial celebrity who basked in the attention and even made a successful career out of it. But who was Anton LaVey behind the public persona that so easily provoked Christians and others intolerant of his views? One of privileged few who spent time with the “Black Pope” in the last decade of his life, Carl Abrahamsson met Anton LaVey in 1989, sparking an “infernally” empowering friendship. In this book Abrahamsson explores what LaVey was really about, where he came from, and how he shaped the esoteric landscape of the 1960s. The author shares in-depth interviews with the notorious Satanist’s intimate friends and collaborators, including LaVey’s partner Blanche Barton; his son, Xerxes LaVey; current heads of the Church of Satan, Peter Gilmore and Peggy Nadramia; occult filmmaker Kenneth Anger; LaVey’s personal secretary Margie Bauer; film collector Jack Stevenson; and film historian Jim Morton. Abrahamsson also shares never-before-published material from LaVey himself, including discussions between LaVey and Genesis P-Orridge and transcribed excerpts from LaVey’s never-released “Hail Satan!” video. Providing inside accounts of the Church of Satan and activities at the Black House, this intimate exploration of Anton LaVey reveals his ongoing role in the history of culture and magic.
Taking its cue from the horror film fanzines of yesteryear... Horror and fantasy cinema from around the world with a distinctive retro sensibility, Creeping Flesh focuses on obscure and vilified horror movies, the discovery of "lost" films, BBC telefantasy, and an appreciation of American and British exploitation. Book jacket.