Covering hundreds of movies from America, Europe and Asia, this history chronicles the zombie's on-screen evolution from Caribbean bogeyman to flesh-eating corpse.

    When Robin Wood returned to his writings in Hitchcock's films and published Hitchcock's Films Revisited in 1989, the multidimensional essays took on a new shape―one tempered by Wood's own development as a critic.This revised edition of Hitchcock's Films Revisited includes a substantial new preface in which Wood reveals his personal history as a film scholar―including his coming out as a gay man, his views on his previows critical work, and how his writings, his love of film, and his personal life have remained deeply intertwined through the years. This revised edition includes all eighteen original essays and a new chapter on Marnie titled "You Freud, Me Hitchcock: Does Mark Cure Marnie?"

    Made specifically for the small screen, within the tight constraints of broadcasting standards, what these humble movies lacked in budget and star appeal, they made up for in other ways. Often they served as an introduction to genre films, particularly horror, mirroring their theatrical counterparts with a focus on sinister cults, women in prison, haunted houses and even animals in revolt. They were also a place to address serious contemporary issues - drugs, prostitution, sexual violence and justice -albeit in a cosy domestic environment. Production of telefilms continues to this day, but their significance within the history of mass media remains under-discussed. Are You in the House Alone? seeks to address this imbalance in a series of reviews and essays by fans and critics. It looks at many of the films, the networks and names behind them, and also specific genres - everything from Stephen King adaptations to superheroes to true-life dramas. So, kickback and crack open the TV guide once more for the event that is the Movie of the Week!

    Carol Clover argues, however, that these films work mainly to engage the viewer in the plight of the victim-hero - the figure, often a female, who suffers pain and fright but eventually rises to vanquish the forces of oppression.

    His incisive writings on individual filmmakers define film culture as a diverse and ever-evolving practice, unpredictable yet subject to analyses just as diversified as his own discriminating tastes. For Rosenbaum, there is no high or low cinema, only more interesting or less interesting films, and the pieces collected here, from an appreciation of Marilyn Monroe’s intelligence to a classic discussion on and with Jean-Luc Godard, amply testify to his broad intellect and multi-faceted talent. Goodbye Cinema, Hello Cinephilia gathers together over fifty examples of Rosenbaum’s criticism from the past four decades, each of which demonstrates his passion for the way we view movies, as well as how we write about them. Charting our changing concerns with the interconnected issues that surround video, DVDs, the Internet, and new media, the writings collected here also highlight Rosenbaum’s polemics concerning the digital age. From the rediscovery and recirculation of classic films, to the social and aesthetic impact of technological changes, Rosenbaum doesn’t disappoint in assembling a magisterial cast of little-known filmmakers as well as the familiar faces and iconic names that have helped to define our era. As we move into this new decade of moviegoing—one in which Hollywood will continue to feel the shockwaves of the digital age—Jonathan Rosenbaum remains a valuable guide. Goodbye Cinema, Hello Cinephilia is a consummate collection of his work, not simply for fans of this seminal critic, but for all those open to the wide variety of films he embraces and helps us to elucidate.

    With subsequent movies such as The Dead Zone, The Fly, Dead Ringers and Naked Lunch, Cronenberg demonstrated his ability not only to touch painful nerves but also to invest his own developing genre with seriousness, philosophical dimension and a rare emotional intensity.Cronenberg on Cronenberg charts his development from maker of inexpensive 'exploitation' cinema to internationally renowned director of million-dollar movies, and reveals the concerns and obsessions which continue to dominate his increasingly rich and complex work. This edition, with an additional chapter, follows Cronenberg's work up to the creation of Crash.

    This collection of essays and interviews, ranging from his early efforts for La Gazette du Cinéma to his later writings for Cahiers du Cinéma, reflects his dazzling intelligence, biting wit, maddening judgments, and complete unpredictability. In writing about Hitchcock, Welles, Bergman, Truffaut, Bresson, and Renoir, Godard is also writing about himself—his own experiments, obsessions, and discoveries. This book offers evidence that he may be even more original as a thinker about film than as a director. Covering the period of 1950–1967, the years of Breathless, A Woman Is a Woman, My Life to Live, Alphaville, La Chinoise, and Weekend, this book of writings is an important document and a fascinating study of a vital stage in Godard’s career. With commentary by Tom Milne and Richard Roud, and an extensive new foreword by Annette Michelson that reassesses Godard in light of his later films, here is an outrageous self-portrait by a director who, even now, continues to amaze and bedevil, and to chart new directions for cinema and for critical thought about its history.

    Cinema is full of neurotic personalities, but few things are more transfixing than a woman losing her mind onscreen. Horror as a genre provides the most welcoming platform for these histrionics: crippling paranoia, desperate loneliness, masochistic death-wishes, dangerous obsessiveness, apocalyptic hysteria. Unlike her male counterpart - 'the eccentric' - the female neurotic lives a shamed existence, making these films those rare places where her destructive emotions get to play. Named after the U.S.-retitling of Carlos Aured's The Blue Eyes of the Broken Doll, House of Psychotic Women is an examination of these characters through a daringly personal autobiographical lens. Anecdotes and memories interweave with film history, criticism, trivia and confrontational imagery to create a reflective personal history and an examination of female madness, both onscreen and off. This sharply-designed book with a 32-page full-colour section is packed with rare stills, posters, pressbooks and artwork that combine with family photos and artifacts to form a titillating sensory overload, with a filmography that traverses the acclaimed and the obscure in equal measure. Films covered include The Entity, The Corruption of Chris Miller, Singapore Sling, 3 Women, Toys Are Not for Children, Repulsion, Let's Scare Jessica to Death, The Haunting of Julia, Secret Ceremony, Cutting Moments, Out of the Blue, Mademoiselle, The Piano Teacher, Possession, Antichrist and hundreds more!

    Now, James Monaco offers a revised and rewritten third edition incorporating every major aspect of this dynamic medium right up to the present.Looking at film from many vantage points, How to Read a Film: Movies, Media, Multimedia explores the medium as both art and craft, sensibility and science, tradition and technology. After examining film's close relation to such other narrative media as the novel, painting, photography, television, and even music, Monaco discusses those elements necessary to understand how films convey meaning and, more importantly, how we can best discern all that a film is attempting to communicate.In a key departure from the book's previous editions, the new and still-evolving digital context of film is now emphasized throughout How to Read a Film. A new chapter on multimedia brings media criticism into the twenty-first century with a thorough discussion of topics like virtual reality, cyberspace, and the proximity of both to film. Monaco has likewise doubled the size and scope of his Film and Media: A Chronology appendix. The book also features a new introduction, an expanded bibliography, and hundreds of illustrative black-and-white film stills and diagrams. It is a must for all film students, media buffs, and movie fans.

    Sarris's The American Cinema, the bible of auteur studies, is a history of American film in the form of a lively guide to the work of two hundred film directors, from Griffith, Chaplin, and von Sternberg to Mike Nichols, Stanley Kubrick, and Jerry Lewis. In addition, the book includes a chronology of the most important American films, an alphabetical list of over 6000 films with their directors and years of release, and the seminal essays "Toward a Theory of Film History" and "The Auteur Theory Revisited." Over twenty-five years after its initial publication, The American Cinema remains perhaps the most influential book ever written on the subject.

    If the gore epics, women-in-prison films, and shockumentaries showcased within their mildewed walls didn't live up to their outrageous billing, the audience shouted, threw food, and even vandalized the theaters. For dedicated lovers of extreme cinema, buying a movie ticket on the Deuce meant putting your life on the line. Authors Bill Landis and Michelle Clifford came to know those grindhouses better than anyone else, and although the theaters were gone by the mid-1980s, the films remained. In Sleazoid Express, Landis and Clifford reproduce what no home video can -- the experience of watching an exploitation film in its original fight-for-your-life Deuce setting. Both a travelogue of the infamous grindhouses of yore and a comprehensive overview of the sleaze canon, Sleazoid Express offers detailed reviews of landmark exploitation classics and paints intimate portraits of directors whose notorious creations played the back end of triple bills for years on end. With wit, intelligence, and an unflinching eye, Landis and Clifford offer the definitive document of cinema's most intense and shocking moments as they came to life at a legendary place.

    But it is his other job that he calls "the Work": investigating cases of demonic possession and assisting in the exorcisms of humanity's most ancient--and most dangerous--foes. Now he discloses for the first time his investigation into incredible true crimes an inhuman evil that were never explained, solved, or understood except by Sarchie and his partner. Schooled in the rituals of exorcism, and an eyewitness to the reality of demonic possession, Ralph Sarchie has documented a riveting chronicle of the inexplicable that gives a new shape to the shadows in the dark.In Beware the Night, he takes readers into the very hierarchy of a hell on earth to expose the grisly rituals of a Palo Mayombe priest; a young girl whose innocence is violated by an incubus; a home invaded by the malevolent spirit of a supposedly murdered ninteenth-century bride; the dark side of a couple who were literally, the neighbors from hell; and more. Ralph Sarchie's NYPD revelations are a powerful and disturbing documented link between the true-crime realities of life and the blood-chilling ice-grip of a supernatural terror.

    A true auteur, Anderson is known for the visual artistry, inimitable tone, and idiosyncratic characterizations that make each of his films—Bottle Rocket, Rushmore, The Royal Tenenbaums, The Life Aquatic with Steve Zissou, The Darjeeling Limited, Fantastic Mr. Fox, and Moonrise Kingdom—instantly recognizable as “Andersonian.”The Wes Anderson Collection is the first in-depth overview of Anderson’s filmography, guiding readers through his life and career. Previously unpublished photos, artwork, and ephemera complement a book-length conversation between Anderson and award-winning critic Matt Zoller Seitz. The interview and images are woven together in a meticulously designed book that captures the spirit of his films: melancholy and playful, wise and childish—and thoroughly original.

    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.

    He started out as an actor (he debuted on the stage in his sixth-grade production of Finian’s Rainbow); he watched actors work (he went to the theater every week from the age of thirteen and saw every important show on, or off, Broadway for the next decade); he studied acting, starting at sixteen, with Stella Adler (his work with her became the foundation for all he would ever do as an actor and a director).Now, in his new book, Who the Hell’s in It, Bogdanovich draws upon a lifetime of experience, observation and understanding of the art to write about the actors he came to know along the way; actors he admired from afar; actors he worked with, directed, befriended. Among them: Lauren Bacall, Humphrey Bogart, James Cagney, John Cassavetes, Charlie Chaplin, Montgomery Clift, Marlene Dietrich, Henry Fonda, Ben Gazzara, Audrey Hepburn, Boris Karloff, Dean Martin, Marilyn Monroe, River Phoenix, Sidney Poitier, Frank Sinatra, and James Stewart.Bogdanovich captures—in their words and his—their work, their individual styles, what made them who they were, what gave them their appeal and why they’ve continued to be America’s iconic actors.On Lillian Gish: “the first virgin hearth goddess of the screen . . . a valiant and courageous symbol of fortitude and love through all distress.” On Marlon Brando: “He challenged himself never to be the same from picture to picture, refusing to become the kind of film star the studio system had invented and thrived upon—the recognizable human commodity each new film was built around . . . The funny thing is that Brando’s charismatic screen persona was vividly apparent despite the multiplicity of his guises . . . Brando always remains recognizable, a star-actor in spite of himself. ” Jerry Lewis to Bogdanovich on the first laugh Lewis ever got onstage: “I was five years old. My mom and dad had a tux made—I worked in the borscht circuit with them—and I came out and I sang, ‘Brother, Can You Spare a Dime?’ the big hit at the time . . . It was 1931, and I stopped the show—naturally—a five-year-old in a tuxedo is not going to stop the show? And I took a bow and my foot slipped and hit one of the floodlights and it exploded and the smoke and the sound scared me so I started to cry. The audience laughed—they were hysterical . . . So I knew I had to get the rest of my laughs the rest of my life, breaking, sitting, falling, spinning.”John Wayne to Bogdanovich, on the early years of Wayne’s career when he was working as a prop man: “Well, I’ve naturally studied John Ford professionally as well as loving the man. Ever since the first time I walked down his set as a goose-herder in 1927. They needed somebody from the prop department to keep the geese from getting under a fake hill they had for Mother Machree at Fox. I’d been hired because Tom Mix wanted a box seat for the USC football games, and so they promised jobs to Don Williams and myself and a couple of the players. They buried us over in the properties department, and Mr. Ford’s need for a goose-herder just seemed to fit my pistol.”These twenty-six portraits and conversations are unsurpassed in their evocation of a certain kind of great movie star that has vanished. Bogdanovich’s book is a celebration and a farewell.From the Hardcover edition.