On location in Blairstown: The Making of Friday the 13th covers the creation, planning and filming of the iconic 1980 film, Friday the 13th in a way that no other film has been documented before. Through the memories of the cast and crew, many speak for the first (and last) time, as well as previously-undiscovered production information and materials, On location in Blairstown takes the reader "on location" and back in time to 1979 for the filming of Friday the 13th and behind the scenes for all of the adventures, conflicts and dramas that went into the making of one of the most enduring and popular horror films in history.

In a single scene in a single film, Tura Satana forever changed the world of American cinema. Faced with an all-American boy and his all-American girlfriend, her wild go go dancer races him, cheats him and fights him, leaving him dead in the dirt. Suddenly it was possible for a woman to be tough and female at the same time and nobody has yet mastered that like Tura Satana did as Varla in "Faster, Pussycat Kill Kill "

In this book, the first full filmography of Tura Satana, film critic Hal C F Astell of Apocalypse Later explores her brief but important screen career through a comprehensive look at each of her feature films and TV show episodes.

The book features a foreword by Peaches Christ, legendary midnight movie maven in San Francisco who appeared in Tura's film, "Astro Zombies: M3 - Cloned"; and an afterword by Cody Jarrett, who directed Tura in "Sugar Boxx" and who is working on a documentary sourced from her unpublished memoir, "The Kick-Ass Life of Tura Satana."

A full list of chapters includes: "Irma la Douce" (1963)
"Who's Been Sleeping in My Bed?" (1963)
"Burke's Law: Who Killed the Paper Dragon?" (1964)
"The Man from UNCLE: The Finny Foot Affair" (1964)
"Faster, Pussycat Kill Kill " (1965)
"Our Man Flint" (1966)
"The Girl from UNCLE: The Moulin Ruse Affair" (1967)
"The Astro-Zombies" (1968)
"The Doll Squad" (1973)
"Mark of the Astro-Zombies" (2002)
"Sugar Boxx" (2009)
"The Haunted World of El Superbeasto" (2009)
"Astro-Zombies: M3 - Cloned" (2010)

Fantastic art compositions. Reality as it could be on the perfect day at the right time.

Baby Bongo is a polite little chimpanzee who must eat healthy or he will lose his positive vibes, he can be found in Brigitta's Mystical Garden and sometimes Baby Bongo goes to visit children at schools or other places to show them how happy he is when he eats healthy. This is the first book in the series www.babybongbmg.info

"The Cinema and Its Shadow" argues that race has defined the cinematic apparatus since the earliest motion pictures, especially at times of technological transition. In particular, this work explores how racial difference became central to the resolving of cinematic problems: the stationary camera, narrative form, realism, the synchronization of image and sound, and, perhaps most fundamentally, the immaterial image--the cinema's "shadow," which figures both the material reality of the screen image and its racist past.

Discussing early "race subjects," Alice Maurice demonstrates that these films influenced cinematic narrative in lasting ways by helping to determine the relation between stillness and motion, spectacle and narrative drive. The book examines how motion picture technology related to race, embodiment, and authenticity at specific junctures in cinema's development, including the advent of narratives, feature films, and sound. In close readings of such films as "The Cheat, Shadows, "and" Hallelujah ," Maurice reveals how the rhetoric of race repeatedly embodies film technology, endowing it with a powerful mix of authenticity and magic. In this way, the racialized subject became the perfect medium for showing off, shoring up, and reintroducing the cinematic apparatus at various points in the history of American film.

Moving beyond analyzing race in purely thematic or ideological terms, Maurice traces how it shaped the formal and technological means of the cinema.

The phenomenon of risk has been seriously neglected in connection with the study of film, yet many of those who write about film seem to have intuitions about how various forms of risk-taking shape aspects of the filmmaking or film-viewing process. Film and Risk fills this gap as editor Mette Hjort and interdisciplinary contributors discuss film's relation to all types of risk. Bringing together scholars from philosophy, anthropology, film studies, economics, and cultural studies, as well as experts from the fields of law, filmmaking, and photojournalism, this volume discusses risk from multiple intriguing angles. In thirteen chapters, contributors consider concrete risks (e.g., stunts or financial decisions); theoretical aesthetic and artistic risks (e.g., filmmakers who incorporate excessive hazards into their films); and the real-world jeopardy spectators might put themselves in when viewing films. The first three chapters tackle the conceptual terrain that is relevant to understanding risk in film. The next three chapters focus on risk as it pertains to the practice of filmmaking. Subsequent chapters deal with economic risk and the role that risk has in the development of film's institutional landscape. The scholarship in this collection is impressive, boasting some of the top writers in their respective fields. Through the contributors' clear and thorough discussions, this cohesive but diverse collection shows that risk arises in many different areas that tend to be thought of as central to film studies. Scholars of film studies will appreciate this daring and inventive collection, and readers with a general interest in film studies will enjoy its accessible style.

Catalog of an exhibition at the Los Angeles Center for Digital Art, January 6 to January 29, 2011. These are large prints of abstract images based on a series of constructions using geometrical forms. The images explore strong colors and textures.

This book is the perfect road-map to guide you through the exciting but occasionally overwhelming world of the background artist. Learn everything from on set jargon and etiquette to wardrobe and makeup secrets. Get insider tips from peers on how to survive long film shoots, standing in line and so much more

Resolutions 3 explores the wide-ranging implications of video art and video-based production in contemporary media culture. It is the third volume in a series composed of Resolution: A Critique of Video Art (1986) and Resolutions: Contemporary Video Practices (1996). While Resolution was one of the first critical texts on video art in the United States, Resolutions was one of the first books to address video as a medium across disciplines from theoretical, activist, and transnational perspectives. Resolutions 3 articulates this legacy as a challenge to reengage with the explosive viral reach of moving image-based content and its infiltration into and impact on culture and everyday life. The contributors to this work analyze what is now a fourth decade of video practices as marked within and outside the margins of art production, networked interventions, projected spectacle, museum entombment, or 24/7 streaming. Intending to broaden, contest, and amplify the mediated space that was defined by its two predecessors, this volume investigates the ever-changing state of video's deployment as examiner, tool, journal reportage, improvisation, witness, riff, leverage, and document. Contributors: Kathleen Ash-Milby, Smithsonian National Museum of the American Indian; Myriam-Odile Blin, Rouen U, France; Nancy Buchanan, California Institute of the Arts; Derek A. Burrill, U of California, Riverside; Sean Cubitt, U of Melbourne; Faisal Devji, New York U; Jennifer Doyle, U of California, Riverside; Jennifer Friedlander, Pomona College; Kathy High, Rensselaer Polytechnic Institute; Lucas Hilderbrand, U of California, Irvine; Nguyen Tan Hoang, Bryn Mawr College; Kathy Rae Huffman; Amelia Jones, McGill U; David Joselit, Yale U; Alexandra Juhasz, Pitzer College; Jessica Lawless, Santa Fe Community College; Hea Jeong Lee; Jesse Lerner, Pitzer College; Akira Mizuta Lippit, U of Southern California; Lionel Manga; Laurence A. Rickels, U of California, Santa Barbara; Kenneth Rogers, U of California, Riverside; Michael Rush, Eli and Edythe Broad Art Museum, Michigan State U; Freya Schiwy, U of California, Riverside; Beverly R. Singer, U of New Mexico; Yvonne Spielmann, U of the West of Scotland; Catherine Taft, Getty Research Institute; Holly Willis, U of Southern California.

Cinema has been undergoing a profound technological shift: celluloid film is being replaced by digital media in the production, distribution, and reception of moving images. Concerned with the debate surrounding digital cinema's ontology and the interrelationship between cinema cultures, "From Light to Byte" investigates the very idea of change as it is expressed in the current technological transition. Markos Hadjioannou asks what is different in the way digital movies depict the world and engage with the individual and how we might best address the issue of technological shift within media archaeologies.

Hadjioannou turns to the technical basis of the image as his first point of departure, considering the creative and perceptual activities of moviemakers and viewers. Grounded in film history, film theory, and philosophy, he explores how the digital configures its engagement with reality and the individual while simultaneously replaying and destabilizing celluloid's own structures. He observes that, where film's photographic foundation encourages an existential association between individual and reality, digital representations are graphic renditions of mathematical codes whose causal relations are more difficult to trace.

Throughout this work Hadjioannou examines how the two technologies set themselves up with reference to reality, physicality, spatiality, and temporality, and he concludes that the question concerning digital cinema is ultimately one of ethical implications--a question, that is, of the individual's ability to respond to the image of the world.

Adaptation was central to Andre Bazin's lifelong query: What is cinema? Placing films alongside literature allowed him to identify the aesthetic and sociological distinctiveness of each medium. More importantly, it helped him wage his campaign for a modern conception of cinema, one that owed a great deal to developments in the novel. The critical genius of one of the greatest film and cultural critics of the twentieth century is on full display in this collection, in which readers are introduced to Bazin's foundational concepts of the relationship between film and literary adaptation. Expertly curated and with an introduction by celebrated film scholar Dudley Andrew, the book begins with a selection of essays that show Bazin's film theory in action, followed by reviews of films adapted from renowned novels of the day (Conrad, Hemingway, Steinbeck, Colette, Sagan, Duras, and others) as well as classic novels of the nineteenth century (Bronte, Melville, Tolstoy, Balzac, Hugo, Zola, Stendhal, and more). As a bonus, two hundred and fifty years of French fiction are put into play as Bazin assesses adaptation after adaptation to determine what is at stake for culture, for literature, and especially for cinema. This volume will be an indispensable resource for anyone interested in literary adaptation, authorship, classical film theory, French film history, and Andre Bazin's criticism.

Since the beginning of the conflict in 2003, more than 300,000 lives have been lost in Darfur. Players of the video game Darfur Is Dying learn this sobering fact and more as they work to ensure the survival of a virtual refugee camp. The video game not only puts players in the position of a struggling refugee, it shows them how they can take action in the real world. Creating the Witness examines the role of film and the Internet in creating virtual witnesses to genocide over the last one hundred years. The book asks, how do visual media work to produce witnesses-audiences who are drawn into action? The argument is a detailed critique of the notion that there is a seamless trajectory from observing an atrocity to acting in order to intervene. According to Leshu Torchin, it is not enough to have a camera; images of genocide require an ideological framework to reinforce the messages the images are meant to convey. Torchin presents wide-ranging examples of witnessing and genocide, including the Armenian genocide, the Holocaust (engaging film as witness in the context of the Nuremburg trials), and the international human rights organization WITNESS and its sustained efforts to use video to publicize human rights advocacy and compel action. From a historical and comparative approach, Torchin's broad survey of media and the social practices around it investigates the development of popular understandings of genocide to achieve recognition and response-both political and judicial-ultimately calling on viewers to act on behalf of human rights.

Published to accompany a landmark exhibition on view at the J. Paul Getty Museum from March 15 through June 18, 2008, California Video presents the first comprehensive survey of the history of video art in California. Since the late 1960s, California artists have been at the forefront of an international movement that has expanded video into the realm of fine art. Whether designing complex video installations, devising lush projections, experimenting with electronic psychedelia, creating conceptual and performance art, generating guerilla video, or producing works that promote feminism and other social issues, these artists have utilized video technology to express revolutionary ideas. This illustrated volume focuses on fifty-eight artists, from early video pioneers such as John Baldessari, Bruce Nauman, and William Wegman, to Martha Rosler, Diana Thater, Bill Viola, and other established and emerging talents. Thirty-five recent interviews shed new light on these artists--their influences, creative processes, and impact. Together with commissioned essays, rare reprints, and unpublished video transcripts, California Video chronicles a distinctly West Coast aesthetic located within the broader history of video art.

When the popularity of Western movies faded with the public, it opened the gate for a new sub-genre that blended the classic fundamentals with other elements. In Twistern: 50 Twisted Western Movie Reviews, a sub-genre is not only defined, but celebrated for its creativity, ingenuity and downright bizarreness. Hitch a ride on this wild wagon ride and prepare for the journey of your life

Over the course of his career Werner Herzog, known for such visionary masterpieces as Aguirre: The Wrath of God (1972) and The Enigma of Kaspar Hauser (1974), has directed almost sixty films, roughly half of which are documentaries. And yet, in a statement delivered during a public appearance in 1999, the filmmaker declared: "There are deeper strata of truth in cinema, and there is such a thing as poetic, ecstatic truth. It is mysterious and elusive, and can be reached only through fabrication and imagination and stylization." Ferocious Reality is the first book to ask how this conviction, so hostile to the traditional tenets of documentary, can inform the work of one of the world's most provocative documentarians. Herzog, whose Cave of Forgotten Dreams was perhaps the most celebrated documentary of 2010, may be the most influential filmmaker missing from major studies and histories of documentary. Examining such notable films as Lessons of Darkness (1992) and Grizzly Man (2005), Eric Ames shows how Herzog dismisses documentary as a mode of filmmaking in order to creatively intervene and participate in it. In close, contextualized analysis of more than twenty-five films spanning Herzog's career, Ames makes a case for exploring documentary films in terms of performance and explains what it means to do so. Thus his book expands the field of cinema studies even as it offers an invaluable new perspective on a little studied but integral part of Werner Herzog's extraordinary oeuvre.

Catalog of an exhibition in the Gallerie im Einstein, Unter den Linden, in Berlin in 2011.

Reflecting upon his experience making his 2010 feature film Mothers, a cinematic triptych interweaving three narratives that are each, in their own way, about the often tenuous lines between truth and fiction, and one of which actually morphs into a documentary about the aftermath in a small Macedonian town where three retired cleaning women were found raped and killed in 2008 and the murderer turned out to be the journalist covering the story for a major Macedonian newspaper, the Oscar-nominated Macedonian-born and New York-based writer-director Milcho Manchevski writes that, "Most of us look at films differently or accept stories in a different way if we believe that they are true. We watch a documentary film in a different way from the way we watch a drama. We read a magazine article in a different way from the way in which we read a short story. Sometimes, we even treat a film that employs actors differently than a regular drama because we were told that it is based on something that really happened. We treat these works based on truth or reporting on the truth in different ways. Why? What is it in our relation to reality or in our relation to what we perceive to be reality that makes us value a work of artifice (an art piece) differently depending on our knowledge or conviction of whether that work of artifice is based on events that really took place?" In this extended essay, or letter, Manchevski ruminates the different ways in which both filmmakers and audiences create, experience, and absorb the cinematic narrative with a certain trust and faith in the artwork to render, not the factual truth, per se, but the importantly shared experience of trusting "the plane of reality created by the work itself," such that "we trust its inner logic and integrity, we have faith in what happens while we give ourselves to this work of art." Truth becomes a question of what artist and audience can see and feel together: what feels real becomes the world we inhabit. The book also includes an Afterword, "Truth Approaches, Reality Affects," by internationally renowned film scholar Adrian Martin.

This collection offers a fresh re-reading and re-imagining of Italian Americans in film, from actors to directors, from subject to agency. The trans-Atlantic discourse that emerges from these keenly insightful essays offers a guidepost for future analyses. As we come to understand the evolving paradigm of Italian Americans, whose cinematic representation has long been object of discussion and debate, Mediated Ethnicity constitutes a prismatic lens through which the contemporary viewer/reader may re-discover the cultural positioning of Italians in America. - John Tintori Associate Arts Professor and Chair, Graduate Film Program New York University Tisch School of the Arts

Peter Forgacs, based in Budapest, is best known for his award-winning films built on home movies from the 1930s to the 1960s that document ordinary lives soon to intersect with offscreen historical events. "Cinema's Alchemist" offers a sustained exploration of the imagination and skill with which Forgacs reshapes such film footage, originally intended for private and personal viewing, into extraordinary films dedicated to remembering the past in ways that matter for our future.

Contributors: Whitney Davis, U of California, Berkeley; Laszlo F. Foldenyi, U of Theatre, Film and Television, Budapest; Marsha Kinder, U of Southern California; Tamas Koranyi; Scott MacDonald, Hamilton College; Tyrus Miller, U of California, Santa Cruz; Roger Odin, U of Paris III Sorbonne-Nouvelle; Catherine Portuges, U of Massachusetts Amherst; Michael S. Roth, Wesleyan U; Kaja Silverman, U of Pennsylvania; Ernst van Alphen, Leiden U, the Netherlands; Malin Wahlberg, Stockholm U.

Little has been written about the Spanish film musical, a genre usually associated with the early Franco dictatorship and dismissed by critics as reactionary, escapist fare. A timely and valuable corrective, White Gypsies shows how the Spanish folkloric musical films of the 1940s and '50s are inextricably tied to anxious concerns about race-especially, but not only, Gypsiness. Focusing on the processes of identity formation in twentieth-century Spain-with multifaceted readings of the cinematic construction of class, gender, and sexuality-Eva Woods Peiro explores how these popular films allowed audiences to negotiate and imaginatively, at times problematically, resolve complex social contradictions. The intricate interweaving of race and modernity is particularly evident in her scrutiny of a striking popular phenomenon: how the musicals progressively whitened their stars, even as their story lines became increasingly Andalusianized and Gypsified. White Gypsies reveals how these imaginary individuals constituted a veritable cultural barometer of how racial thinking was projected and understood across a broad swath of popular Spanish cinema.