Fully illustrated, this book includes an Indian song-and-dance version of Dracula; Turkish version of Star Trek and Superman; China's "hopping vampire" films, and much more.

    This rich collection, filled with interviews, essays, and color reproductions of testosterone-heavy thirty-five-cent magazines with names like Man's Exploits, Rage, and Escape to Adventure (to name a few), illustrates the culture created to help veterans confront the confusion of jobs, girls, and the Cold War on their return from World War II and the Korean War.Contributions from the original men's magazine talent like Bruce Jay Friedman, Mario Puzo, and Mort Künstler bring the reader inside the offices, showing us how the writers, illustrators, editors, and publishers put together decades of what were then called "armpit slicks." Reproductions of original paintings from Norman Saunders, Künstler, and Norm Eastman are featured within, and Bill Devine's annotated checklist of the many thousands of adventure magazines is essential for collectors of the genre.The expanded paperback edition includes wartime illustrations and advertisements from mass-produced magazines that preview the xenophobia and racist ideas later seen throughout men's adventure magazines of the '50s and '60s.

    A rich compendium of looniness!

    The films of the New Wave in Japan have, until now, been largely overlooked. Eros plus Massacre (taking its title from a 1969 Yoshida Yoshishige film) is the first major study devoted to the examination and explanation of Japanese New Wave film.Desser organizes his volume around the defining motifs of the New Wave. Chapters examine in depth such themes as youth, identity, sexuality, and women, as they are revealed in the Japanese film of the sixties. Desser's research in Japanese film archives, his interviews with major figures of the movement, and his keen insight into Japanese culture combine to offer a solid and balanced analysis of films by Oshima, Shinoda, Imamura, Yoshida, Suzuki, and others.

    Among filmmakers and film buffs, Cassavetes is revered, almost as a god. A major star of live television and a serious actor, he stumbled into making his first film, Shadows, and created a template for working outside the Hollywood system that would produce some of the most piercing and human films of the last thirty years including A Woman Under the Influence and Husbands. He became the prototypical outsider fighting the system for much of his career. Film critic Marshall Fine had unprecendented access to Cassavetes' wife, Gena Rowlands, and other members of their inner circle, as well as industry insiders who worked with Cassavetes -- some speaking publicly for the first time. Together, they tell his daring, tumultuous, and compelling story.

    He is now unfit for conventional employment. Because of the addictive nature of these films, we the publishers cannot guarantee that your sanity won't be endangered by reading this book.

    From the advent of photography in the 19th and into the 20th century, medical students, often in secrecy, took photographs of themselves with the cadavers that they dissected: their first patients. Featuring 138 of these historic photographs and illuminating essays by two experts on the subject, Dissection reveals a startling piece of American history. Sherwin Nuland, MD, said this is "a truly unique and important book [that] documents a period in medical education in a way that is matched by no other existing contribution." And Mary Roach said Dissection "is the most extraordinary book I have ever seen--the perfect coffee table book for all the households where I'd most like to be invited for coffee."

    Thomas Nelson's perceptive and comprehensive study of Kubrick rescues him from the hostility of auteurist critics and discovers the roots of a Kubrickian aesthetic, which Nelson defines as the "aesthetics of contingency."After analyzing how this aesthetic develops and manifests itself in the early works, Nelson devotes individual chapters to Lolita, Dr. Stangelove, 2001: A Space Odyssey, A Clockwork Orange, Barry Lyndon, and The Shining.For this expanded edition, Nelson has added chapters on Full Metal Jacket and Eyes Wide Shut, and, in the wake of the director's death, reconsidered his body of work as a whole. By placing Kubrick in a historical and theoretical context, this study is a reliable guide into--and out of--Stanley Kubrick's cinematic maze.

    1962) did not go to film school and hates being defined as an auteur. He prefers to see himself as a craftsman, dutifully going about the art and business of making film. Trouble is, it's hard to be self-effacing when you are the director responsible for Se7en, Fight Club, and The Social Network. Along with Quentin Tarantino, Fincher is the most accomplished of the Generation X filmmakers to emerge in the early 1990s.This collection of interviews highlights Fincher's unwavering commitment to his craft as he evolved from an entrepreneurial music video director (Fincher helped Madonna become the undisputed queen of MTV) into an enterprising feature filmmaker. Fincher landed his first Hollywood blockbuster at twenty-seven with Alien3, but that film, handicapped by cost overruns and corporate mismanagement, taught Fincher that he needed absolute control over his work. Once he had it, with Se7en, he achieved instant box-office success and critical acclaim, as well as a close partnership with Brad Pitt that led to the cult favorite Fight Club.Fincher became circumspect in the 2000s after Panic Room, shooting ads and biding his time until Zodiac, when he returned to his mantra that -entertainment has to come hand in hand with a little bit of medicine. Some people go to the movies to be reminded that everything's okay. I don't make those kinds of movies. That, to me, is a lie. Everything's not okay.- Zodiac reinvigorated Fincher, inspiring a string of films--The Curious Case of Benjamin Button, The Social Network, and The Girl with the Dragon Tattoo--that enthralled audiences and garnered his films dozens of Oscar nominations.

    Providing extended critical discussion on six of his most important films (Shadows, Faces, Minnie and Moskowitz, A Woman Under the Influence, The Killing of a Chinese Bookie, and Love Streams), Ray Carney argues that Cassavetes' work is a distinctly life-affirming form of modernist expression that is at odds with the world-denying modernism of many of the most important art works produced in this century. Cassavetes is revealed to be a profoundly thoughtful and self-aware filmmaker and a deeply philosophical thinker, whose work takes its place in the American tradition along with the writings of Ralph Waldo Emerson and William James. The six films treated here emerge as expressive interpretations of the bewildering challenges in contemporary American cultural experience.

    

    Angel-like Blengins with butterfly wings, natural catastrophes, innocent girls, and murderous soldiers all appear in Darger's scenes, which are reproduced in this book in double-page and gatefold spreads. In the volume's introductory essay, Klaus Biesenbach examines the radical originality of Darger's art, including his use of collage, incorporation of religious themes and iconography, and frequent juxtaposition of innocence with violence. An essay by Brooke Davis Anderson illuminates Darger's source materials and techniques. Michael Bonesteel puts Darger's life in the context of his work and selects key texts to accompany the illustrations. The book also includes for the first time the text of Darger's History of My Life, A" the artist's autobiography. The only book of its kind, Henry Darger offers an authoritative, balanced, and insightful look at an American master

    In a passionate and witty behind-the-scenes expose, the author of 'All About All About Eve' takes on the classic 1959 Douglas Sirk film, Born To Be Hurt, starring Lana Turner.

    Here you'll meet, among many others, the 20s film idols snorting cocaine from an illuminated glass dance floor on the bank of the Thames, the model who escaped Soho's gangsters to become the queen of the nudie flicks and the genteel Scottish comedienne who, at the age of fifty-five, reinvented herself as a star of exploitation cinema, and fondly remembers 'the one where I drilled in people's heads and ate their brains'. Welcome to the lost worlds of British cinema.

    A revealing biography of Tito, the Yugoslav leader who was a partisan against the Germans and the first Communist head to break with the Soviet Union, considers his role in the breakup of Yugoslavia after his death.