That's because, between 1970 and 1985, American Exploitation movies went berserk. With censorship relaxed, and the gate to excess wide open, horror - the Exploitation genre par excellence - offered a vibrant alternative to the mainstream of American cinema. Luridly titled wonders like The Headless Eyes, Scream Bloody Murder and Hitch Hike to Hell were everywhere, from the drive-ins of Texas to the grindhouses of New York, touting a combination of mind-bruising violence, weird sex and drug-soaked delirium. Massively popular around the world, American exploitation movies added immensely to the richness of the nation's cinema, but they have remained persona non grata in most serious studies of American film. Until now... Built on five years of research, Nightmare USA explores the development of America's subterranean horror film industry, spotlighting some of the wildest films imaginable from an era unchecked by censorship or 'good taste.' Ranging from cult favourites like I Drink Your Blood to stylish mind-benders like Messiah of Evil and ultra-violent shockers like Don't Go in the House, Nightmare USA goes where no other in-depth study has gone before, revealing the fascinating true stories behind classics and obscurities alike. Stephen Thrower, author of Beyond Terror, the definitive book on Italian gore maestro Lucio Fulci, has explored the attics and cellars of American cinema, delved beneath the floorboards, peered between the walls, searching for the strangest, most exotic cine-lifeforms... Nightmare USA is the reader's guide to what lies beyond the mainstream of American horror, dispelling the shadows to meet the men and women behind fifteen years of screen terror: the Exploitation Independents! This massive overview of the Horror genre's development through the 1970s and 1980s features: -- In-depth EXCLUSIVE interviews with twenty-five grindhouse movie makers, many of whom are discussing their work for the first time ever in print. -- Over 175 individual films reviewed, with full cast and crew credits compiled by world-renowned cinema archivist Julian Grainger. -- Vast quantities of previously unpublished stills, posters, press-books, plus behind-the-scenes photographs from the filmmakers' own collections.

    Challenges the conventional wisdom that violent horror films can only degrade women and incite violence.

    The result is a highly entertaining book on Hollywood's extravagant relationship with the past, a celebration of the cinema as an illuminator of the story of mankind. By the author of the bestselling Flashman novels. 200 photos.

    Matt, cover more than half of the Zohar's commentary on the Book of Genesis (through Genesis 32:3). This is the first translation ever made from a critical Aramaic text of the Zohar, which has been established by Professor Matt based on a wide range of original manuscripts. The extensive commentary, appearing at the bottom of each page, clarifies the kabbalistic symbolism and terminology, and cites sources and parallels from biblical, rabbinic, and kabbalistic texts. The translator's introduction is accompanied by a second introduction written by Arthur Green, discussing the origin and significance of the Zohar. Please see the Zohar Home Page for ancillary materials, including the publication schedule, press release, Aramaic text, questions, and answers.Further information on the Zohar:Sefer ha-Zohar, "The Book of Radiance," has amazed and overwhelmed readers ever since it emerged mysteriously in medieval Spain toward the end of the thirteenth century. Written in a unique Aramaic, this masterpiece of Kabbalah exceeds the dimensions of a normal book; it is virtually a body of literature, comprising over twenty discrete sections. The bulk of the Zohar consists of a running commentary on the Torah, from Genesis through Deuteronomy. This translation begins and focuses here in what are projected to be ten volumes. Two subsequent volumes will cover other, shorter sections.The Zohar's commentary is composed in the form of a mystical novel. The hero is Rabbi Shim'on son of Yohai, a saintly disciple of Rabbi Akiva who lived in the second century in the land of Israel. In the Zohar, Rabbi Shim'on and his companions wander through the hills of Galilee, discovering and sharing secrets of Torah.On one level, biblical figures such as Abraham and Sarah are the main characters, and the mystical companions interpret their words, actions, and personalities. On a deeper level, the text of the Bible is simply the starting point, a springboard for the imagination. For example, when God commands Abraham, Lekh lekha, Go forth... to the land that I will show you (Genesis 12:1), Rabbi El'azar ignores idiomatic usage and insists on reading the words more literally than they were intended, hyperliterally: Lekh lekha, Go to yourself! Search deep within to discover your true self.At times, the companions themselves become the main characters, and we read about their dramatic mystical sessions with Rabbi Shim'on or their adventures on the road, for example, an encounter with a cantankerous old donkey driver who turns out to be a master of wisdom in disguise.Ultimately, the plot of the Zohar focuses on the ten sefirot, the various stages of God's inner life, aspects of divine personality, both feminine and masculine. By penetrating the literal surface of the Torah, the mystical commentators transform the biblical narrative into a biography of God. The entire Torah is read as one continuous divine name, expressing divine being. Even a seemingly insignificant verse can reveal the inner dynamics of the sefirot—how God feels, responds and acts, how She and He (the divine feminine and masculine) relate intimately with each other and with the world.

    Adopting what is essentially a structuralist approach, the author identifies and names the basic constituents and techniques of narrative and illustrates them by referring to literary works in many languages.

    In The Rebbe’s Army, award-winning journalist Sue Fishkoff gives us the first behind-the-scenes look at this small Brooklyn-based group of Hasidim and the extraordinary lengths to which they take their mission of outreach. They seem to be everywhere—in big cities, small towns, and suburbs throughout the United States, and in sixty-one countries around the world. They light giant Chanukah menorahs in public squares, run “Chabad houses” on college campuses from Berkeley to Cambridge, give weekly bible classes in the Capitol basement in Washington, D.C., run a nonsectarian drug treatment center in Los Angeles, sponsor the world’s biggest Passover Seder in Nepal, establish synagogues, Hebrew schools, and day-care centers in places that are often indifferent and occasionally hostile to their outreach efforts. They have built a billion-dollar international empire, with their own news service, publishing house, and hundreds of Websites.Who are these people? How successful are they in making Jews more observant? What influence does their late Rebbe, Menachem Mendel Schneerson (who some thought was the Messiah), continue to have on his followers? Fishkoff spent a year interviewing Lubavitch emissaries from Anchorage to Miami and has written an engaging and fair-minded account of a Hasidic group whose motives and methodology continue to be the subject of speculation and controversy.From the Hardcover edition.

    Cited as an influence by such envelope-pushing directors as Spike Jonze and P. T. Anderson, Altman has created a genre all his own, notable for its improvised, overlapping dialogue and creative cinematography. One of the key moviemakers of the 1970s--commonly considered the heyday of American film--Altman's irrepressible combination of unorthodox vision and style is most clearly evidenced in the fourteen movies he released across that decade. By fine-tuning his talent in a diverse array of genres, including westerns, thrillers, and loopy, absurdist comedies--all subtly altered to fit his signature métier--he cemented his place as one of our most esteemed directors.In these conversations with David Thompson, Altman reflects on his start in industrial filmmaking, as well as his tenure in television directing Alfred Hitchcock Presents and Bonanza, and his big break in feature films as the director of the enormously popular M*A*S*H, a project for which he was the last possible resort behind fourteen other directors. The resulting portrait reveals a quixotic man whose films continue to delight and challenge audiences, both in the United States and beyond.

    The guide includes all the icons, from Boris Karloff to Wes Craven and Frankenstein to Freddie Kruger, including classics from Argentina, Pakistan, South Africa and the recent chillers from East Asia. The canon of fifty essential horror movies features The Cabinet of Dr Caligari and Switchblade Romance, via Psycho and The Exorcist. Everything you need to know is covered from festivals, adaptations, magazines and merchandise. The guide tells the stories behind the movies that have scared us throughout the twentieth century.

    Ranked number 50 in Empire Magazine's 'Top 100 Movie Stars of All Time', her appeal as a screen icon is set to last for years to come.From her roles in such legendary films as Breakfast at Tiffany's and her Oscar-winning performance in Roman Holiday, to her lovers and the pain of losing a child, this revealing biography is essential reading for Hepburn and film fans alike.

    With his other 'shorter' collections Black + Blues and Third World Poems, Middle Passages creates a kind of chisel which may well lead us into a projected third trilogy. Here is a political angle to Brathwaite's Caribbean & New World quest, with new notes of protest and lament. It marks a Sisyphean stage of Third World history in which things fall apart and everyone's achievements come tumbling back down upon their heads and into their hearts, like the great stone which King Sisyphus was condemned to keep heaving back up the same hill in hell - a postmodernist implosion already signalled by Baldwin, Patterson, Soyinka and Achebe and more negatively by V.S. Naipaul; but given a new dimension here by Brathwaite's rhythmical and 'video' affirmations. And so Middle Passages includes poems for those modern heroes who are the pegs by which the mountain must be climbed again: Maroon resistance, the poets Nicolas Guillen, the Cuban revolutionary, and Mikey Smith, stoned to death on Stony Hill; the great musicians (Ellington, Bessie Smith); and Third World leaders Kwame Nkrumah, Walter Rodney and Nelson Mandela.

    The work is a careful, well-documented study of nationalism and ethnic prejudice, and chronicles the power and violence of these two ideas in American society from 1860 to 1925. He significantly moves beyond previous treatments of nativism, both in chronology and in interpretive sophistication. Higham defines nativism as a defensive type of nationalism or an intense opposition to an internal minority on the grounds of the group's foreign connections. By defining nativism as a set of attitudes or a state of mind, he sets the course for his book as tracing "trace an emotionally charged impulse" rather than "an actual social process or condition." As he argues that the ideological content of nativism remained consistent, he uses emotional intensity as a measure to trace in detail public opinion from the relative calm following the Civil War to the Johnson-Reed act of 1924 that severely limited European immigration. Strangers in the Land is, then, a history of public opinion, whose purpose is to show how nativism evolved in society and in action. Higham seeks to explain what could inflame xenophobia and who resisted it. He saw his work as part of a renewed interest in the study of nationalism following the national upheavals in the wake of the McCarthy hearings. Surely Higham's mentor at the University of Wisconsin, intellectual historian Merle Curti, influenced Higham's approach in seeking to examine the power of nationalism as an idea. Also influential was the intellectual climate of the 1950s with its of distrust of ideology and distain of prejudice. Higham admits being repelled by the nationalist delusions of the Cold War, again helping to explain why his study concentrates on seeking some explanation for the irrational and violent outbreaks. The book thus focuses on points of conflict, "antagonisms that belong within ideologies of passionate national consciousness." For example, Higham's explains the 100 percent American movement in terms of progressive ideals and the desire of Americans to shape immigrants into a particular ideal of "Americanness" through education and assimilation. This intellectual construct eventually gave way to the racial thinking to which Higham assigns much influence in the efforts to restrict immigration. Ideology is also central to his chapter on the history of the idea of racism in which he argues that Anglo-Saxon nationalism, literary naturalism and a nascent understanding of genetics combined to bring forth arguments for immigration restriction to preserve the racial purity of the American people. Thus, key for Higham's argument is the power of ideas in shaping individual behavior and thereby shaping history. This text is an absolute must-read for anyone seeking to understand American nativism and the darker side of nationalism.

    Drawing from the Bible, the Pseudepigrapha, the Talmud and Midrash, the kabbalistic literature, medieval folklore, Hasidic texts, and oral lore collected in the modern era, Schwartz has gathered together nearly 700 of the key Jewish myths. The myths themselves are marvelous. We read of Adams diamond and the Land of Eretz (where it is always dark), the fall of Lucifer and the quarrel of the sun and the moon, the Treasury of Souls and the Divine Chariot. We discover new tales about the great figures of the Hebrew Bible, from Adam to Moses; stories about God's Bride, the Shekhinah, and the evil temptress, Lilith; plus many tales about angels and demons, spirits and vampires, giant beasts and the Golem. Equally important, Schwartz provides a wealth of additional information. For each myth, he includes extensive commentary, revealing the source of the myth and explaining how it relates to other Jewish myths as well as to world literature (for instance, comparing Eves release of evil into the world with Pandoras). For ease of use, Schwartz divides the volume into ten books, Myths of God, Myths of Creation, Myths of Heaven, Myths of Hell, Myths of the Holy Word, Myths of the Holy Time, Myths of the Holy People, Myths of the Holy Land, Myths of Exile, and Myths of the Messiah.

    1953) has presented moviegoers with his uniquely personal vision, from his first feature film, Permanent Vacation (1980), to his latest, Ghost Dog: The Way of the Samurai (1999). As the interviews in this volume reveal, Jarmusch has always been interested in mixing very different cultural ingredients to form something uncategorizably new in films that transcend the boundaries between high and low cultures. Jarmusch half-mockingly described his movie Stranger Than Paradise (1984), the film that first brought him substantial notice, as "a semi-neorealist black comedy in the style of an imaginary Eastern European film director obsessed with Ozu, and familiar with the 1950s American television show The Honeymooners."His unique approach to movie making jump-started the low-budget American independent film movement with Stranger Than Paradise, which won the Camera d'Or for best first feature at the Cannes Film Festival.Ranging from 1981 to 2000 this collection chronicles the career and sensibility of a thoroughly independent filmmaker. It features one previously unpublished interview, two that have never appeared in English, and another two which are presented in their entirety rather than in the abridged forms in which they were published.Jarmusch discusses the actors with whom he has worked (Johnny Depp, Forest Whitaker, and Roberto Benigni among them), the progression of his camera and editing techniques, his fascination with the co-existence of disparate and often opposing cultures, and his cult status as an independent movie director. He comes across as kind, modest, and attentive, with a warm sense of humor and an ever-glowing affection for and dedication to his art, and for all the small and marginalized aspects of the world.Ludvig Hertzberg is a freelance film critic and a doctoral candidate in cinema studies at Stockholm University, Sweden.

    But it is Stella’s voice, the amazing way that she tells her story, that makes this Holocaust story so unique, powerful and endearing. The reader listens to Stella’s stunning simplicity of expression, her use of Polish and Yiddish phrases, her humor, her all-so-frequent grammatical errors – and is charmed. It is a story that only Stella Yollin can tell, and it can only be told in Stella’s sweet and incomparable way.

    S. Hamrah's film writing for n+1, The Baffler, Bookforum, Harper s, and other publications. Acerbic, insightful, hilarious, and damning, Hamrah s aphoristic capsule reviews and lucid career retrospectives of filmmakers and critics have taken up the mantle of serious American film criticism pioneered by James Agee, Robert Warshow, and Pauline Kael and carried it into the 21st century. Taken together, these reviews and essays represent some of the best film criticism in the English language. The Earth Dies Streaming showcases a remarkable critical intelligence while offering a cultural history of the cinema of our times.