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This is the hardback version. It is frequently said that one man's trash is another man's treasure, and nowhere is this statement more accurate than in the case of obscure bizarro exploitation films. Containing 55 essays on such trash classics as Ilsa: She Wolf of the SS (1975), I Spit on Your Grave (1978), and Faster, Pussycat! Kill! Kill! (1965), Trash CInema: A Celebration of Overlooked Masterpieces celebrates the good, the bad, and the ugly of these so-called "trash" films. Some of the pieces are reverential, some poke fun at the absurdity of the films, and others offer a more critical eye to these proceedings. With essays from more than 40 noted film writers, this collection is a one-of-a-kind treasure for those amongst us with a passion for the seedier side of cinema.
It is frequently said that one man's trash is another man's treasure, and nowhere is this statement more accurate than in the case of obscure bizarro exploitation films. Containing 55 essays on such trash classics as Ilsa: She Wolf of the SS (1975), I Spit on Your Grave (1978), and Faster, Pussycat! Kill! Kill! (1965), Trash CInema: A Celebration of Overlooked Masterpieces celebrates the good, the bad, and the ugly of these so-called "trash" films. Some of the pieces are reverential, some poke fun at the absurdity of the films, and others offer a more critical eye to these proceedings. With essays from more than 40 noted film writers, this collection is a one-of-a-kind treasure for those amongst us with a passion for the seedier side of cinema.
Kidnapped as a teenage girl, Ma has been locked inside a purpose built room in her captor's garden for seven years. Her five year old son, Jack, has no concept of the world outside and happily exists inside Room with the help of Ma's games and his vivid imagination where objects like Rug, Lamp and TV are his only friends. But for Ma the time has come to escape and face their biggest challenge to date: the world outside Room.
A master film critic is at her witty, exhilarating, and opinionated best in this career-spanning collection featuring pieces on Bonnie and Clyde, The Godfather, and other modern movie classics “Film criticism is exciting just because there is no formula to apply,” Pauline Kael once observed, “just because you must use everything you are and everything you know.” Between 1968 and 1991, as regular film reviewer for The New Yorker, Kael used those formidable tools to shape the tastes of a generation. She had a gift for capturing, with force and fluency, the essence of an actor’s gesture or the full implication of a cinematic image. Kael called movies “the most total and encompassing art form we have,” and her reviews became a platform for considering both film and the worlds it engages, crafting in the process a prose style of extraordinary wit, precision, and improvisatory grace. Her ability to evoke the essence of a great artist—an Orson Welles or a Robert Altman—or to celebrate the way even seeming trash could tap deeply into our emotions was matched by her unwavering eye for the scams and self-deceptions of a corrupt movie industry. Here are her appraisals of era-defining films such as Breathless, Bonnie and Clyde, The Leopard, The Godfather, Last Tango in Paris, Nashville, along with many others, some awaiting rediscovery—all providing the occasion for masterpieces of observation and insight, alive on every page.
Nominated for a 34th annual Lambda Literary Award • A scintillating thriller with an emotional punch: “The tension builds to unbearably claustrophobic levels. To say more would rob readers of the 'no, he didn’t' suspense that makes Bath Haus an unexpectedly twisted, heart-pounding cat-versus-mouse thriller" (Los Angeles Times). Oliver Park, a recovering addict from Indiana, finally has everything he ever wanted: sobriety and a loving, wealthy partner in Nathan, a prominent DC trauma surgeon. Despite their difference in age and disparate backgrounds, they've made a perfect life together. With everything to lose, Oliver shouldn't be visiting Haus, a gay bathhouse. But through the entrance he goes, and it's a line crossed. Inside, he follows a man into a private room, and it's the final line. Whatever happens next, Nathan can never know. But then, everything goes wrong, terribly wrong, and Oliver barely escapes with his life. He races home in full-blown terror as the hand-shaped bruise grows dark on his neck. The truth will destroy Nathan and everything they have together, so Oliver does the thing he used to do so well: he lies. What follows is a classic runaway-train narrative, full of the exquisite escalations, edge-of-your-seat thrills, and oh-my-god twists. P. J. Vernon's Bath Haus is perfect for readers curious for their next must-read novel.
Literary Nonfiction. California Interest. Women's Studies. Film. Memoir. THE BIG LOVE is a Hollywood nightmare. It tells the story of Errol Flynn--a fading, alcoholic movie star--and the underage dancer-actress Beverly Aadland. The narrator? Beverly Aadland's fame-worshiping mother Mrs. Florence Aadland, who spurs the relationship on. There is nothing subtle or sympathetic about this memoir: It is outrageous, grotesque, surreal, notorious--an intimate look at Hollywood exploitation and decay. On the one hand, THE BIG LOVE depicts the deterioration of Errol Flynn, an actor who is quickly losing relevance after years of playing irresistible swashbucklers in films such as Captain Blood (1935) and The Adventures of Robin Hood (1938). He is riddled with medical problems, drinking himself to death. On the other hand, there is Mrs. Florence Aadland, also an alcoholic, an uncultured stage mother psychotically pushing her daughter Beverly forward even at the cost of her own marriage. A bizarre, seedy time capsule of the 1950s, THE BIG LOVE is the long-lost literary sister of Barbara Payton's I AM NOT ASHAMED. And, after languishing out of print for years, it is ready to shock brand new audiences with its absurd humor, villainous characters, and sickly dissipation.
A director reveals the original inspirations for his films, their history, his methods of work, and the problems of visual creativity
Fiftieth anniversary reissue of the founding media studies book that helped establish media art as a cultural category. First published in 1970, Gene Youngblood’s influential Expanded Cinema was the first serious treatment of video, computers, and holography as cinematic technologies. Long considered the bible for media artists, Youngblood’s insider account of 1960s counterculture and the birth of cybernetics remains a mainstay reference in today’s hypermediated digital world. This fiftieth anniversary edition includes a new Introduction by the author that offers conceptual tools for understanding the sociocultural and sociopolitical realities of our present world. A unique eyewitness account of burgeoning experimental film and the birth of video art in the late 1960s, this far- ranging study traces the evolution of cinematic language to the end of fiction, drama, and realism. Vast in scope, its prescient formulations include “the paleocybernetic age,” “intermedia,” the “artist as design scientist,” the “artist as ecologist,” “synaesthetics and kinesthetics,” and “the technosphere: man/machine symbiosis.” Outstanding works are analyzed in detail. Methods of production are meticulously described, including interviews with artists and technologists of the period, such as Nam June Paik, Jordan Belson, Andy Warhol, Stan Brakhage, Carolee Schneemann, Stan VanDerBeek, Les Levine, and Frank Gillette. An inspiring Introduction by the celebrated polymath and designer R. Buckminster Fuller—a perfectly cut gem of countercultural thinking in itself—places Youngblood’s radical observations in comprehensive perspective. Providing an unparalleled historical documentation, Expanded Cinema clarifies a chapter of countercultural history that is still not fully represented in the arthistorical record half a century later. The book will also inspire the current generation of artists working in ever-newer expansions of the cinematic environment and will prove invaluable to all who are concerned with the technologies that are reshaping the nature of human communication.
BOOKER PRIZE WINNER • NATIONAL BESTSELLER • A novel that follows a middle-aged man as he contends with a past he never much thought about—until his closest childhood friends return with a vengeance: one of them from the grave, another maddeningly present. A novel so compelling that it begs to be read in a single setting, The Sense of an Ending has the psychological and emotional depth and sophistication of Henry James at his best, and is a stunning achievement in Julian Barnes's oeuvre. Tony Webster thought he left his past behind as he built a life for himself, and his career has provided him with a secure retirement and an amicable relationship with his ex-wife and daughter, who now has a family of her own. But when he is presented with a mysterious legacy, he is forced to revise his estimation of his own nature and place in the world.
A plane crashes on a desert island and the only survivors, a group of schoolboys, assemble on the beach and wait to be rescued. By day they inhabit a land of bright fantastic birds and dark blue seas, but at night their dreams are haunted by the image of a terrifying beast. As the boys' delicate sense of order fades, so their childish dreams are transformed into something more primitive, and their behaviour starts to take on a murderous, savage significance. First published in 1954, Lord of the Flies is one of the most celebrated and widely read of modern classics. Now fully revised and updated, this educational edition includes chapter summaries, comprehension questions, discussion points, classroom activities, a biographical profile of Golding, historical context relevant to the novel and an essay on Lord of the Flies by William Golding entitled 'Fable'. Aimed at Key Stage 3 and 4 students, it also includes a section on literary theory for advanced or A-level students. The educational edition encourages original and independent thinking while guiding the student through the text - ideal for use in the classroom and at home.