Off the grid, out of sight of the authorities. Hoping to escape a terrifying secret; to outrun what he has seen and what he has done. Kane is an assassin who, with the help of the Machine, possesses the ability to assume the identity of anyone he wishes. He can strike without warning, and kill without mercy. Stronger than a dozen men, faster than sight itself, he can be anywhere, anytime.When Book catches Kane’s eye, he discovers the world is even more dangerous than he knew. Book must ally himself with people who, like him, know that Kane is on the verge of remaking the world in his image.But how do you know who to trust, when the man who wants you dead can be anyone he pleases? How can you fight for the ones you love......when you can’t even believe who you see?

    He also discusses his distribution of the Bergman, Fellini, and Truffaut movies that later won Academy Awards in the Best Foreign Film category. Corman alumni—John Sayles, Martin Scorsese, Jack Nicholson, Vincent Price, Francis Ford Coppola, Peter Bogdanovich, Peter Fonda, Joe Dante, and Jonathan Demme, among others—contribute their recollections to give added perspective to Corman's often hilarious, always informative autobiography.

    What more can there be to say about a masterpiece so universally acknowledged? As Laura Mulvey shows in a fresh and original reading, the richness of the film, both thematically and stylistically, is inexhaustible. In a lucid and perceptive critique she investigates the psychoanalytic structure that underlines the film's presentation of Kane's biography, for once taking seriously what Orson Welles himself disparagingly referred to as "dollar-book Freud." She also illuminates the film's historical context, revealing it to be a prescient commentary on the isolationist politics of prewar America.

    There's no way we're going to sleep, not after the film we just saw. Fear is one of the most primal human emotions, and one of the hardest to reason with and dispel. So why do we scare ourselves? It seems almost mad that we would frighten ourselves for fun, and yet there are thousands of books, films, and games designed to do exactly that.As Darryl Jones shows in Sleeping with the Lights On, the horror genre is vast, ranging from vampires, ghosts, and werewolves to mad scientists, Satanists, and deranged serial killers. The cathartic release of scaring ourselves has made its appearance everywhere from Shakespearean tragedies to internet memes. Exploring the key tropes of the genre, including its monsters, its psychological chills, and its love affair with the macabre, Jones explains why horror stories disturb us, and how society responds to literary and film representations of the gruesome and taboo. Should the enjoyment of horror be regarded with suspicion? What kind of a distinction should we make between the commonly reviled carnage of the contemporary horror genre and the culturally acceptable bloodbaths of ancient Greek tragedies?Analyzing how horror has been used throughout history to articulate the fears and taboos of the current generation, Jones considers the continuing evolution of the genre today. As horror is marketed to mainstream society in the form of romantic vampires and blockbuster hits, it maintains its shadowy presence on the edges of respectability, as banned films and violent Internet phenomena push us to question both our own preconceptions and the terrifying capacity of human nature.

    A History of the French New Wave Cinema offers a fresh look at the social, economic, and aesthetic mechanisms that shaped French film in the 1950s, as well as detailed studies of the most important New Wave movies of the late 1950s and early 1960s.Richard Neupert first tracks the precursors to New Wave cinema, showing how they provided blueprints for those who would follow. He then demonstrates that it was a core group of critics-turned-directors from the magazine Cahiers du Cinéma—especially François Truffaut, Claude Chabrol, and Jean-Luc Godard—who really revealed that filmmaking was changing forever. Later, their cohorts Eric Rohmer, Jacques Rivette, Jacques Doniol-Valcroze, and Pierre Kast continued in their own unique ways to expand the range and depth of the New Wave. In an exciting new chapter, Neupert explores the subgroup of French film practice known as the Left Bank Group, which included directors such as Alain Resnais and Agnès Varda. With the addition of this new material and an updated conclusion, Neupert presents a comprehensive review of the stunning variety of movies to come out of this important era in filmmaking.

    TV nerds have "The Walking Dead." Fiction fans have World War Z. Now, a cross-section of some of the best contemporary poets from the stage and the page rise up and shamble their way through an anthology of post-apocalyptic zombie poetry edited by Write Bloody author and GeekWeek.com personality Rob "Ratpack Slim" Sturma. Funny, creepy, shocking, and even poignant, this collection challenges award winning authors like Scott Woods, Laura Yes Yes, and Khary Jackson to shake the dust off of old conventions, pull the triggers on their imaginations, and...Aim For The Head.

    H. AudenJames Agee was passionately involved with the movies throughout his life. A master of both fiction and nonfiction, he wrote about film in clean, smart prose as the reviewer for Time magazine and as a columnist for The Nation. Agee was particularly perceptive about the work of his friend John Huston and recognized the artistic merit of certain B films such as The Curse of the Cat People and other movies produced by Val Lewton.

    The poster art from the noir era has a bold look and an iconography all its own. During noir's golden age, studios commissioned these arresting illustrations for even the lowliest "B" thriller. The Art of Noir is the first book to present this striking artwork in a lavishly produced, large-format, full-color volume. The more than 300 dazzling posters and other promotional material range from the classics to rare archive films such as The Devil Thumbs a Ride and Blonde Kiss. With rare offerings from around the world and background information on the illustrators, The Art of Noir is the ultimate companion for movie buffs and collectors, as well as artists and designers.

    Over 250 photos, production drawings, historical documents, and interviews with the filmmakers detail the behind-the-scenes story of the making of the film, including excerpts from the script and songs, a portrait of Bohemian Paris in the 1890s, and spectacular portfolios of behind-the-scenes photography.

    In The Monstrous-Feminine Barbara Creed challenges this patriarchal view by arguing that the prototype of all definitions of the monstrous is the female reproductive body.With close reference to a number of classic horror films including the Alien trilogy, The Exorcist and Psycho, Creed analyses the seven `faces' of the monstrous-feminine: archaic mother, monstrous womb, vampire, witch, possessed body, monstrous mother and castrator. Her argument that man fears woman as castrator, rather than as castrated, questions not only Freudian theories of sexual difference but existing theories of spectatorship and fetishism, providing a provocative re-reading of classical and contemporary film and theoretical texts.

    A mind-melting compilation of gonzo writing, illustration and comics about the most insane, sexy, awkward, cheesy, hilarious, upsetting and jaw-dropping movies in the history of film, Cinema Sewer joyously celebrates the sleaziest aspects of the moviegoing experience, while delving deep into bizarre cinematic history. Bougie's distinctive writing style has made him famous among a loyal following of cult film fans. Includes: •Graphic illustrations by Bougie and associates • Bizarre film trivia • 100 pages of never-before-seen interviews, rants, comics • Rare genre film ads • DIY 'zine aesthetic

    But his enthusiasm quickly turns to dread when it becomes apparent that his phantom guest has also begun to notice Allan. This tale is from the short story collection, BURIED IN THE BASEMENT, by the author of The Temple of the Blind series. 9200 words

    By the end of the following year, moviegoers couldn't get enough of him and his iconic persona, the Little Tramp. Perpetually outfitted with baggy pants, a limp cane, and a dusty bowler hat, the character became so beloved that Chaplin was mobbed by fans, journalists, and critics at every turn. Although he never particularly liked giving interviews, he accepted the demands of his stardom, giving detailed responses about his methods of making movies. He quickly progressed from making two-reel shorts to feature-length masterpieces such as The Gold Rush, City Lights, and Modern Times. Charlie Chaplin: Interviews offers a complex portrait of perhaps the world's greatest cinematic comedian and a man who is considered to be one of the most influential screen artists in movie history. The interviews he granted, performances in and of themselves, are often as well crafted as his films. Unlike the Little Tramp, Chaplin the interviewee comes across as melancholy and serious, as the titles of some early interviews-"Beneath the Mask: Witty, Wistful, Serious Is the Real Charlie" or "The Hamlet-Like Nature of Charlie Chaplin"-make abundantly clear. His first sound feature, The Great Dictator, is a direct condemnation of Hitler. His later films such as Monsieur Verdoux and Limelight obliquely criticize American policy and consequently generated mixed reactions from critics and little response from moviegoers. During this late period of his filmmaking, Chaplin granted interviews less often. The three later interviews included here are thus extremely valuable, offering long, contemplative analyses of the man's life and work.

    An interview with Kieslowsi shortly before his death concludes this tribute.

    Stories adapted include "The End of the Time of Leinard," "Rat Hater," "Knox," "The Rough Boys," and "Catman," as well as nine others. Also includes five short stories written especially for the series, with a cover by Leo and Diane Dillon.