This remarkable journey through the Hammer vault includes props, annotated script pages, unused poster artwork, production designs, rare promotional material and private correspondence. Hundreds of rare and previously unseen stills help to create a rich souvenir of Hammer's legacy, from the X certificate classics of the 1950s to the studio's latest productions. This new updated edition includes an extra chapter covering the years 2010.

The undead are very much alive in contemporary entertainment and lore. Indeed, vampires and zombies have garnered attention in print media, cinema, and on television. The vampire, with roots in medieval European folklore, and the zombie, with origins in Afro-Caribbean mythology, have both undergone significant transformations in global culture, proliferating as deviant representatives of the zeitgeist. As this volume demonstrates, distribution of vampires and zombies across time and space has revealed these undead figures to carry multiple meanings. Of all monsters, vampires and zombies seem to be the trendiest--the most regularly incarnate of the undead and the monsters most frequently represented in the media and pop culture. Moreover, both figures have experienced radical reinterpretations. If in the past vampires were evil, blood-sucking exploiters and zombies were brainless victims, they now have metamorphosed into kinder and gentler blood-sucking vampires and crueler, more relentless, flesh-eating zombies. Although the portrayals of both vampires and zombies can be traced back to specific regions and predate mass media, the introduction of mass distribution through film and game technologies has significantly modified their depiction over time and in new environments. Among other topics, contributors discuss zombies in Thai films, vampire novels of Mexico, and undead avatars in horror videogames. This volume--with scholars from different national and cultural backgrounds--explores the transformations that the vampire and zombie figures undergo when they travel globally and through various media and cultures.

Widespread law enforcement or formal policing outside of cities appeared in the early 20th century around the same time the early film industry was developing -the two evolved in tandem, intersecting in meaningful ways. Much scholarship has focused on portrayals of the criminal in early American cinema, yet little has been written about depictions of the criminal's antagonist. This history examines how different on-screen representations shifted public perception of law enforcement -initially seen as a suspicious or intrusive institution, then as a power for the common good.

How should we understand film authorship in an era when the idea of the solitary and sovereign auteur has come under attack, with critics proclaiming the death of the author and the end of cinema? The Bressonians provides an answer in the form of a strikingly original study of Bresson and his influence on the work of filmmakers Jean Eustache and Maurice Pialat. Extending the discourse of authorship beyond the idea of a singular visionary, it explores how the imperatives of excellence function within cinema's pluralistic community. Bresson's example offered both an artistic legacy and a creative burden within which filmmakers reckoned in different, often arduous, and altogether compelling ways.

A Critical Companion to Stanley Kubrick offers a thorough and detailed study of the works of Stanley Kubrick. Labeled a recluse, a provocateur, and a perfectionist, Kubrick remains one of the greatest legends of cinema who continues to influence contemporary filmmakers and visual culture. An unequaled visionary, Kubrick revolutionized film genres, the use of music in film, narrative pacing and structure, and depictions of war and violence. This book delves into the complexities of his work and examines the wide range of topics and the multiple interpretations that his films inspire. The eighteen chapters in this book use different methodologies, explore new trends of research in film studies, providing a series of unique and novel perspectives on all of Kubrick's thirteen feature films, from Fear and Desire (1953) to Eyes Wide Shut (1999), as well as his work on A.I. Artificial Intelligence (Steven Spielberg, 2001).

The volume offers highly detailed and insightful critical analysis of a range of individual films of the period. This analysis draws upon an innovative range of critical methodologies which place the film texts within a rich variety of historical contexts. The book sets out to examine British films of the 1970s in order to get a clearer understanding of two things - the fragmentary state of the filmmaking culture of the period, and the fragmentary nature of the nation that these films represent. It argues that there is no singular narrative to be drawn about British filmmaking in the 1970s, other than the fact that these films offer evidence of a Britain (and ideas of Britishness) characterised by vicissitudes. While this was a period of struggle and instability, it was also a period of openings, of experiment, and of new ideas. Newland looks at many films, including Carry On Girls, O Lucky Man!, That'll be the Day, The Shout, and The Long Good Friday. -- .

This unique and timely collection examines childhood and the child character throughout Stephen King's works, from his early novels and short stories, through film adaptations, to his most recent publications. King's use of child characters within the framework of horror (or of horrific childhood) raises questions about adult expectations of children, childhood, the American family, child agency, and the nature of fear and terror for (or by) children. The ways in which King presents, complicates, challenges, or terrorizes children and notions of childhood provide a unique lens through which to examine American culture, including both adult and social anxieties about children and childhood across the decades of King's works.

Prolific American film producer Amedee J. Van Beuren (1879-1938) did not start out in the film industry. After decades spent in business and advertising, Van Beuren turned his intellect and creativity towards acquiring a foothold in film and began building his empire. He is best known to animation fans for his bizarre cartoons of the 1920s and 1930s, featuring such zanies as Molly Moo Cow, Cubby Bear and Tom and Jerry (not the cat-and-mouse duo). But the majority of the 1,499 films produced by Van Beuren between 1918 and 1937 were live-action short subjects--travelogues, comedies, musicals, sports reels and more. His roster of star performers included Bert Lahr, Shemp Howard, Ethel Waters and (indirectly) Charlie Chaplin. Van Beuren also made several feature films starring legendary big-game hunter Frank Buck, and a 12-episode serial headlining horror icon Lon Chaney, Jr. Capped by a complete list of his films, this engrossing chronicle of Amedee Van Beuren's vast output is the first all-inclusive history of one of moviedom's most successful and least-known filmmakers.

The chapters collected in this volume shed light on the areas of interaction between film studies and heavy metal research, exploring how the audio-visual medium of film relates to, builds on and shapes metal culture. At one end of the spectrum, metal music serves as a form of ambient background in horror films that creates an intense and somewhat threatening atmosphere; at the other end, the high level of performativity attached to the metal spectacle is emphasized. Alongside these tendencies, the recent and ongoing wave of metal documentaries has taken off, relying on either satire or hagiography.

Strippers, zombies, fugitives and jewel thieves. These were just some of the characters who inhabited the weird, wild films of director Stephen C. Apostolof in the 1960s and 1970s. But Apostolof's own life was every bit as improbable as the plots of his lurid movies. Escaping the clutches of the communists in his native Bulgaria, he came to America in 1952 and decided on a whim to reinvent himself as a Hollywood filmmaker, right down to the cigars, sunglasses and Cadillacs. He produced a string of memorable sexploitation classics, including the infamous Orgy of the Dead. Along the way, he married three times, fathered five children and forged a personal and professional relationship with the notorious Ed Wood, Jr. Drawing on rare archival material and interviews with those who knew him best, this first biography of Apostolof chronicles the life and career of a cult film legend.

To a substantial degree cinema has served to define the perceived character of the peoples and nations of the Middle East. This book covers the production and exhibition of the cinema of Morocco, Algeria, Tunisia, Egypt, Palestine, Jordan, Lebanon, Syria, Iraq, the United Arab Emirates, Saudi Arabi, Yemen, Kuwait, and Bahrain, as well as the non-Arab states of Turkey and Iran, and the Jewish state of Israel. This second edition of Historical Dictionary of Middle Eastern Cinema contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 500 cross-referenced entries on individual films, filmmakers, actors, significant historical figures, events, and concepts, and the countries themselves. It also covers the range of cinematic modes from documentary to fiction, representational to animation, generic to experimental, mainstream to avant-garde, and entertainment to propaganda. This book is an excellent resource for students, researchers, and anyone wanting to know more about Middle Eastern cinema.

Between 1960 and 1964, the legendary Roger Corman created eight motion pictures that have become known as the "Poe Cycle", elevating the careers of both himself and Vincent Price to cult status around the world. Nearly half a century later these films are staples in most DVD collections of anyone who admires the cinema of the Fantastic. This is the long-awaited book that details and analyses these highly important films. This book has been 30 years in the making! Nevermore will include: Hundreds of rare images never seen before from each film; Commentaries from Vincent Price and Roger Corman; Special observations by Barbara Steele, Elizabeth Shepherd, Joyce Jameson and Hazel Court as the leading ladies of the series; Exclusive interviews with the actors and artisans that made the Poe films; Rare poster art from around the world; Extra material on the Poe films made after Corman with exclusive interviews with Gordon Hessler and Samuel Z Arkoff. Archivist and film historian David Del Valle in collaboration with Professor Sam Umland have fashioned a film-by-film analysis of Roger Corman's Poe films including the Poe-inspired films made after Corman left AIP to pursue other projects. The unique combination of Professor Umland's insights into the literary landscape of Poe in concert with Mr Del Valle's twenty five years of research interviewing all the participants in the Poe series now culminates here. This is the "dream within a dream" for aficionados of these films which have never left the imagination of the generation that grew up watching them.

This book combines film studies with urban theory in a spatial exploration of twentieth century Los Angeles. Configured through the dark lens of noir, the author examines an alternate urban history of Los Angeles forged by the fictional modes of detective fiction, film noir and neo noir. Dark portrayals of the city are analyzed in Raymond Chandler's crime fiction through to key films like Double Indemnity (1944) and The End of Violence (1997). By employing these fictional elements as the basis for historicising the city's unrivalled urban form, the analysis demonstrates an innovative approach to urban historiography. Revealing some of the earliest tendencies of postmodern expression in Hollywood cinema, this book will be of great relevance to students and researchers working in the fields of film, literature, cultural and urban studies. It will also be of interest to scholars researching histories of Los Angeles and the American noir imagination.

This is classic Hollywood history as told through the life and career of one of its most iconic actresses. The book benefits tremendously from the author's meeting with Olivia de Havilland after he was assigned to handle her projected memoir at the Delacorte Press in 1973. Amburn also knew many of the key figures in her life and career, a veritable pantheon of Hollywood royalty from the 30s, 40s, and 50s: Jimmy Stewart, George Cukor, and David O. Selznick, and he was an editor at William Morrow when the company published the autobiography of de Havilland's difficult sister Joan Fontaine. Superbly researched and full of delicious anecdotes about Clark Gable, John Huston, Vivien Leigh, Laurence Olivier, Montgomery Clift, Errol Flynn, David Niven, and Bette Davis--particularly the bloody, bone-crunching fistfight Flynn and Huston waged over Olivia--this book not only profiles one of the finest actresses of her time, but also the culture of the film industry's Golden Age. It details de Havilland's relationships with the men who sought her--Howard Hughes, Jimmy Stewart, Errol Flynn, John F. Kennedy, Burgess Meredith, and John Huston, as well as her friendships with Grace Kelly, British Prime Minister Edward Heath, Ronald Reagan, Victor Fleming, and Ingrid Bergman. Here, too, are the fabulous and often surprising back stories of her 49 films, including Gone With the Wind, The Adventures of Robin Hood, The Snake Pit, Hush . . . Hush, Sweet Charlotte, and the two for which she won Oscars, The Heiress and To Each His Own. The account of the filming of Gone With the Wind is unique in that the author interviewed many of the people involved in the epic making of this masterpiece as Lois Dwight Cole, who discovered the novel, producer David O. Selznick, director George Cukor, agents Kay Brown and Annie Laurie Williams, Radie Harris, Vivien Leigh's closest friend in the press, and both Edie Goetz and Irene Mayer Selznick, daughters of Louis B. Mayer, head of MGM, the studio that funded, released, and ended up owning Gone With the Wind. Also included in this biography are Olivia's adventures with Bette Davis. They appeared together in four movies and Davis tried to destroy her, but Olivia stood up to Davis as no other actress had ever dared to do. She won Davis's respect, and by the time they made their biggest hit, Hush . . . Hush, Sweet Charlotte, a lasting friendship had blossomed. Undertaking a joint national publicity tour, they attracted mobs of boisterous fans and, in private, reminisced about the Golden Age of movies, evaluated the current crop of stars, and exchanged observations about love goddesses, nudity, and parenthood.

This title brings Deleuze's writings on cinema into contact with world cinema, drawing on examples ranging from Georges Melies to Michael Mann. "Deleuze's Cinema books" continue to cause controversy. Although they offer radical new ways of understanding cinema, his conclusions often seem strikingly Eurocentric. "Deleuze and World Cinemas" explores what happens when Deleuze's ideas are brought into contact with the films he did not discuss, those from Europe and the USA (from Georges Melies to Michael Mann) and a range of world cinemas - including Bollywood blockbusters, Hong Kong action movies, Argentine melodramas and South Korean science fiction movies. These emergent encounters demonstrate the need for the constant adaptation and reinterpretation of Deleuze's findings if they are to have continued relevance, especially for cinema's contemporary engagement with the aftermath of the Cold War and the global dominance of neoliberal globalization.

This book investigates the portrayal of nationalities and sexualities in British post-Second World War crime film and melodrama. By focussing on these genres, and looking at the concept of melodrama as an analytical tool apt for the analysis of both sexuality and nation, the book offers insight into the desires, fears, and anxieties of post-war culture. The problem of returning to 'normalcy' after the war is one of the recurring themes discussed; alienation from society, family, and the self were central issues for both women and men in the post-war years, and the book examines the anxieties surrounding these social changes in the films of the period. In particular, it explores heterosexuality and nationality as some of the most prominent frameworks for the construction of identities in our time, structures that, for all their centrality, are made invisible in our culture.

This book examines the relationship that exists between fantasy cinema and the medium of animation. Animation has played a key role in defining our collective expectations and experiences of fantasy cinema, just as fantasy storytelling has often served as inspiration for our most popular animated film and television. Bringing together contributions from world-renowned film and media scholars, Fantasy/Animation considers the various historical, theoretical, and cultural ramifications of the animated fantasy film. This collection provides a range of chapters on subjects including Disney, Pixar, and Studio Ghibli, filmmakers such as Ralph Bakshi and James Cameron, and on film and television franchises such as Dreamworks' How To Train Your Dragon (2010-) and HBO's Game of Thrones (2011-).

This is a sweeping survey of how global filmmakers have treated the subject of the Holocaust. When representing the Holocaust, the slightest hint of narrative embellishment strikes contemporary audiences as somehow a violation against those who suffered under the Nazis. This anxiety is, at least in part, rooted in Theodor Adorno's dictum that 'To write poetry after Auschwitz is barbaric'. And despite the fact that he later reversed his position, the conservative opposition to all 'artistic' representations of the Holocaust remains powerful, leading to the insistent demand that it be represented, as it really was. And yet, whether it's the girl in the red dress or a German soldier belting out Bach on a piano during the purge of the ghetto in "Schindler's List", or the use of tracking shots in the documentaries "Shoah" and "Night and Fog", all genres invent or otherwise embellish the narrative to locate meaning in an event that we commonly refer to as 'unimaginable'. This wide-ranging book surveys and discusses the ways in which the Holocaust has been represented in cinema, covering a deep cross-section of both national cinemas and genres.

The U.S. Constitution is often depicted in popular films, teaching lessons about what this founding document means and what it requires. Mr. Smith Goes to Washington educates how a bill becomes a law. 12 Angry Men informs us about the rights of the accused. Selma explores the importance of civil rights, voting rights, and the freedom of speech. Lincoln shows us how to amend the Constitution. Not only have films like these been used to teach viewers about the Constitution; they also express the political beliefs of directors, producers, and actors, and they have been a reflection of what the public thinks generally, true or not, about the meaning of the Constitution. From the indictment of Warren Court rulings in Dirty Harry to the defense of the freedom of the press in All the President's Men and The Post, filmmakers are often putting their stamp on what they believe the Constitution should mean and protect. These films can serve as a catalyst for nationwide conversations about the Constitution and as a way of either reinforcing or undermining the constitutional orthodoxies of their time. Put another way, these films are both symbols and products of the political tug of war over the interpretation of our nation's blueprint for government and politics. To the contemporary student and the casual reader, popular films serve as an understandable way to explain the Constitution. This book examines several different areas of the Constitution to illuminate how films in each area have tried to engage the document and teach the viewer something about it. We expose myths where they exist in film, draw conclusions about how Hollywood's constitutional lessons have changed over time, and ultimately compare these films to what the Constitution says and how the U.S. Supreme Court has interpreted it. Given the ever-present discussion of the Constitution in American politics and its importance to the structure of the U.S. government and citizens' rights, there is no question that the popular perceptions of the document and how people acquire these perceptions are important and timely.

Most producers and directors acknowledge the crucial role of the screenplay, yet the film script has received little academic attention until recently, even though the screenplay has been in existence since the end of the 19th century. Analysing the Screenplay highlights the screenplay as an important form in itself, as opposed to merely being the first stage of the production process. It explores a number of possible approaches to studying the screenplay, considering the depth and breadth of the subject area, including: the history and early development of the screenplay in the United States, France and Britain the process of screenplay writing and its peculiar relationship to film production the assumption that the screenplay is standardised in form and certain stories or styles are universal the range of writing outside the mainstream, from independent film to story ideas in Bhutanese film production to animation possible critical approaches to analysing the screenplay. Analysing the Screenplay is a comprehensive anthology, offering a global selection of contributions from internationally renowned, specialist authors. Together they provide readers with an insight into this fascinating yet complex written form. This anthology will be of interest to undergraduate and postgraduate students on a range of Film Studies courses, particularly those on scriptwriting.

Transatlantic Crossings is a major study of the distribution and exhibition of British films in the USA. Charting the cross-cultural reception of many British films, Sarah Street draws on a wide range of sources including studio records, film posters, press books and statistics. While the power of Hollywood made it difficult for films that crossed the Atlantic, Street's research demonstrates that some strategies were more successful than others. She considers which British films made an impact and analyzes conditions that facilitated a positive reception from critics, censors, exhibitors and audiences. Case studies include Nell Gwyn (1926), The Private Life of Henry VIII (1933), The Ghost Goes West (1935), Henry V (1946), Black Narcissus (1947), The Red Shoes (1948), Ealing comedies, The Horror of Dracula (1958), Tom Jones (1963), A Hard Day's Night (1964), Goldfinger (1964), The Remains of the Day (1993), Four Weddings and a Funeral (1994) and Trainspotting (1996). Against a background of the economic history of the British and Hollywood film industries, Transatlantic Crossings considers the many fascinating questions surrounding the history of British films in the USA, their relevance to wider issues of Anglo-American relations and to notions of "Britishness" on screen.

New York in Cinematic Imagination is an interdisciplinary study into urbanism and cinematic representations of the American metropolis in the twentieth century. It contextualizes spatial transformations and discourse about New York during the Great Depression and the Second World War, examining both imaginary narratives and documentary images of the city in film. The book argues that alternating endorsements and critiques of the 1920s machine age city are replaced in films of the 1930s and 1940s by a new critical theory of "agitated urban modernity" articulated against the backdrop of turbulent economic and social settings and the initial practices of urban renewal in the post-war period. Written for postgraduates and researchers in the fields of film, history and urban studies, with 40 black and white illustrations to work alongside the text, this book is an engaging study into cinematic representations of New York City.