The fullest biography of Jesus Franco to date. The book includes reviews by critics of various nationalities and exhaustive credit lists and video release information for each film.
The first major critical study of controversial director Pete Walker. Britain's greatest exploitation film director began his career making 'skinflicks', before directing his classic English horrors HOUSE OF WHIPCORD, FRIGHTMARE and HOUSE OF MORTAL SIN which probed beneath the glossy surface of the permissive society to expose a malevolent underworld of madness, obsession and vindictive violence.
'I deliberately rub people up the wrong way,' Pete Walker once remarked, 'I want them to come into the cinema and be shocked.' And shock them he did. No other British film-maker achieved the level of transgression that Walker regularly delivered to cinema-goers in the 1970s.
The book draws on a five hour interview conducted with Walker, and many previously unpublished photographs.
The cinema of Dario Argento. Italian language.
Cannibal Holocaust is widely acclaimed as being one of the greatest horror movies of all time; indeed this hugely influential film is so devastatingly effective that it is often wrongly accused of being a 'Snuff' movie.
This book is the fully authorised guide to the amazing films of Ruggero Deodato, whose notorious masterpiece CANNIBAL HOLOCAUST is analysed in depth along with all his other movies, which include HOUSE ON THE EDGE OF THE PARK, WAVES OF LUST, CUT AND RUN, LAST CANNIBAL WORLD, BODYCOUNT, PHANTOM OF DEATH, THE BARBARIANS, DIAL: HELP, THE ATLANTIS INTERCEPTORS and LIVE LIKE A COP, DIE LIKE A MAN.
With two career-spanning interviews, a detailed filmography, reviews of all his movies and a stunning selection of stills, ad-mats, rare posters and behind the scenes photographs selected from Ruggero Deodato's personal collection, this book is the definitive reference work on one of Italy's most accomplished horror film directors.
The aesthetics of European art house collide with fairytale logic and grisly ultra-violence in the films of Italy's most unconventional export, Dario Argento. An unending source of fascination for scholars and horror fanatics alike, his films compel scrutiny, inviting their audiences to search beyond their weird multicoloured facades, and enter a dangerous world of obsession and gruesome, violent death and torment.
Art of Darkness is divided into four main sections, for the first time ever allowing readers access to many different aspects of Argento's unique world in a single volume.
The first part seeks to inject a fresh perspective into the ongoing Argento debate. This section lays an emphasis on context and association through a series of essays on the intricate web of ideas and images which lie beyond the surface of the screen. From the belief system of the alchemists to Edgar Allan Poe and Michael Powell's Peeping Tom, Art of Darkness explores the eclectic mass of cultural and artistic connections which litter the interior of the director's Gothic world.
The second part is a full-colour celebration of the most stunning images from Argento's films together with a comprehensive gallery of all the very best promotional artwork for his films. There are beautifully-reproduced posters from all over the world, many of which have not been seen since the films' original theatrical runs! Also featuring previously unseen lobby cards, admats and behind the scenes shots, all of which have been loaned for inclusion in this book by the world's number one Argento archivist, Alan Jones.
The third part of the book brings together the world's best genre writers to review every film which Argento has directed, from The Bird with the Crystal Plumage up to The Phantom of the Opera. Each film is given a detailed treatment by a skilled, knowledgable writer who personally chose the film which they wanted to review on the understanding that this book is a celebration of all that makes Argento such an important horror film director:
A biography of the lost auteur of British cinema. Reeves directed REVENGE OF THE BLOOD BEAST (1966), THE SORCERORS (1967) and WITCHFINDER GENERAL (1968) but died in 1969.
A former painter, Bava extended his eye for beauty in composition to forge breathtaking symphonies of colour and light in a series of masterful horror classics. His influence extends beyond such acknowledged cinematic disciples as Dario Argento and Lucio Fulci, to a new generation of admirers including the likes of Tim Burton, Quentin Tarantino and Martin Scorsese.
Troy Howarth's stunningly illustrated study of Mario Bava's entire directorial career is the first comprehensive book on the master of Gothic horror film making.
In addition to the mountain of illustrations (many in full colour) and the insightful film reviews, the book is rounded out by an incredibly detailed filmography compiled by renowned archivist Julian Grainger.
Also featuring six brand new translations of long out-of-print interviews with the late Mario Bava himself, plus contributions from collaborators such as actor John Saxon, scriptwriter Ernesto Gastaldi, Bava's son Lamberto, and a foreword by director Luigi Cozzi.
Hutchings looks at the career of Hammer's most respected director. As well as directing films like DRACULA, THE CURSE OF FRANKENSTEIN and THE DEVIL RIDES OUT, Fisher directed many other films over a twenty five year career; including Gainsborough melodramas, 1950's B movies and science fiction.
Dario Argento, Suspiria, Deep Red, Inferno, Bird with the Crystal Plumage, Cat O' Nine Tails, Tenebrae, Trauma, La Chiesa, The Church, The Sect, Phenomena, Creepers, Demons, Profondo Rosso, The Stendhal Syndrome, Dawn of the Dead, Two Evil Eyes, Demons 2, Four Flies on Grey Velvet.
From his early beginnings scripting Sergio Leone's Once Upon a Time inthe West, his directorial breakthrough with the chic giallo The Bird with the Crystal Plumage and his ground-breaking soundtrack use of the progressive rock group Goblin, to producing the gut-wrenching Dawn of the Dead, his Terror Trilogy with his Hollywood superstar daughter Asia and helming his latest thriller The Card Player, everything you ever wanted to know about Dario Argento but were afraid to ask is all here.
Features full-length interviews with: Asia Argento, Claudio Argento, Fiore Argento, Lamberto Bava, Roy Bava, Simon Boswell, Michael Brandon, Chiara Caselli, Luigi Cozzi, Liam Cunningham, Keith Emerson, Franco Ferrini, Jessica Harper, Udo Kier, Daria Nicolodi, Stefania Rocca, George A. Romero, Gianni Romoli, Dardano Sacchetti, Julian Sands, Tom Savini, Claudio Simonetti, Michele Soavi, Sergio Stivaletti, Max Von Sydow, Ronnie Taylor, Luciano Tovoli.
A study of the Buttgereit's cinema of death and necrophilia. The book features rare photographs, personal interviews with the director and his principal actors, and an on-set report from SCHRAMM.
Whilst acknowledging the flaws in auteur theory, McDonagh uses it as a starting point to assess the career of one of Italy's most respected horror film directors. Each chapter deals with one or two of his films in chronological order. She draws on many sources, as demonstrated by her vast bibliography, and provides the best insight, to date, on the films of Dario Argento.
Louis Paul's book charts the origins of the hallucinatory Italian horror film and features lengthy articles on ten of its most celebrated auteurs. From Riccardo Freda's I VAMPIRI (1956) to Dario Argento's IL CARTIO (2004), the book also features Mario Bava, Lamberto Bava, Ruggero Deodato, Lucio Fulci, Umberto Lenzi, Antonio Margheriti, Aristide Massaccesi, Bruno Mattei and Michele Soavi.
Jean Rollin, Le Viol du Vampire, La Vampire Nue, Le Frisson des Vampires, Requiem pour un Vampire, La Rose de Fer, Les Demoniaques, Levres de Sang, Les Raisins de la Mort, Fascination, Phantasmes, La Nuit des Traquees, Les Eschappees, La Morte Vivante, Le Trattoirs de Bangkok, Perdues dans New York, Killing Car, Les Deux Orphalines Vampires.
A thorough and beautifully presented overview of the films of Lucio Fulci, lavishly illustrated with posters, video covers and ad. mats for most of the films mentioned. This volume takes into account all of Fulci's films from his early comedies and westerns to his infamous Zombie Flesheaters (Italy, 1979), and his gothic visions of hell during the 1980's. Thrower makes references to the writings of Julia Kristeva and Barbara Creed in his analysis of these films.