For more than a century, reports of a strange beast known as the Fouke Monster have circulated among the locals in southern Arkansas. Described as a large, hairy man-like creature, it's said to haunt the vast Sulphur River Bottoms as it travels the secluded waterway known as Boggy Creek. Over the years, the creature has been seen by numerous witnesses including respected citizens, experienced hunters, famous musicians, and even a police officer. The encounters were often so shocking, they served as inspiration for the classic horror film, "The Legend of Boggy Creek," by Charles B. Pierce.

Tales of the creature have long existed in scattered pieces across news clippings, memoirs, police reports, and movies, but it is only now that the complete history of the Fouke Monster has been assembled in one place. This book collects all the facts, theories, and amazing sighting reports, and weaves them into a fascinating tale about this undeniable southern mystery, one that lives on, as frightening encounters with the Beast of Boggy Creek are still being reported today

Growing up in Texas, Lyle Blackburn became fascinated with the legends, lore, and sighting reports of alleged real-life monsters. He is a frequent contributor and cryptozoology advisor to Rue Morgue magazine, one of the leading horror media publications in print today. He is also the founder and frontman for the rock band Ghoultown. Over the last decade, Ghoultown has released six albums, toured extensively in both the U.S. and Europe, and has appeared on several horror movie soundtracks. Lyle currently lives near Dallas, Texas, where he enjoys a day off now and then.

Structured according to key themes, Polish Cinema Today analyzes the remarkable innovations in Polish cinema emerging a decade after the 1989 dissolution of the Soviet bloc, once its film industry had evolved from a socialist state enterprise into a much more accessible system of film production, with growing expertise in distribution and marketing. By the early 2000s, an impressive, diverse cohort of filmmakers broke through the gridlock of a small set of esteemed, aging auteurs as well as the glut of imported Hollywood blockbusters, empowered by the digital revolution and domestic audience appetite for independent work. Polish directors today challenge sacrosanct bromides about national and gender identity, Poland's historical martyrdom, the status of the influential Catholic Church, and the benevolent family, while investigating the phenomena of migration and sexuality in their full complexity. Each thematic chapter places these recent films within a historical/cultural context nationally and transnationally, and designs its analyses of specific works to engage general audiences of film scholars, students, and cinephiles.

Based on the blockbuster film series, this official in-world cookbook takes you straight to Isla Nublar and serves up some mighty meals inspired by the T. rex, velociraptors, and other unforgettable dinosaurs of the Jurassic World film series. Lunch finds a way with this deluxe cookbook inspired by the epic films of Jurassic Park and Jurassic World. Designed to look like an in-world souvenir sold at the park, this colorful cookbook features approachable at-home recipes for treats and dishes inspired by the different regions of the iconic park-and the miraculous dinosaurs that live there. Cook up some Tricera-tots from the Triceratops Territory. Nosh on some Grilled Shark Skewers inspired by the Mosasaurus Show. And for those whose appetites run to the truly gargantuan, try the T. Rex T-Bone-the king of all steaks! Filled with real-world dinosaur facts and data and bursting with gorgeous photography, Jurassic World: The Official Cookbook is the perfect cookbook for fans of the Jurassic World films and dinosaur lovers everywhere.

Drawing on theory and empirical research, this book provides an analysis of the intersections between LGBTQ+ identification and chronic illness. Chapters focus on the theoretical meaning of chronic illness as a queer notion, as well as the lived experiences of chronically ill LGBTQ+ people. The author analyzes chronic illness as an experience that interrogates the normative notions of time, (in)visibility, and disability. Interweaving notions of heteronormativity and able-bodiedness as interwoven and mutually dependent, this book argues that the experience of chronic illness through the LGBTQ+ embodiment presents the potential to imagine bodies differently.This book will be useful for scholars and students in Disability Studies, Queer Studies, and Gender Studies.

an endeavor to contribute to the burgeoning field of comparative literature, this book explores the understudied "intertextual dialogism" between American literature and Iranian cinema, providing an intertextual link between the two seemingly separate departments of literature and cinema. Foregrounding "the textuality of history, and the historicity of texts", this book contends that literary "texts" are synchronic artifacts prone to myriad intertextual and extra-textual readings and understandings, each historically conditioned. This book pinpoints how Iranian cinema appropriates and recontextualizes instances of modern American literature to construct and inculcate vestiges of national/gender identity on the silver screen. Watching Herzog, Franny and Zooey, The Glass Menagerie, A Streetcar Named Desire, and Death of a Salesman in Iran adds a new intertextual level to their dialogic textuality.

This volume offers an open, transdisciplinary living space (also green) through which to explore the different connections between Basilicata and Southern Italy, cinema, and ecology, and thus to reflect on the different forms through which the historical, cultural, and social contexts of Southern Italian regions have been variously identified and represented. In order to explore these connections, the volume embraces a wide range of perspectives that may all be grouped under the key term film ecocriticism, offering the reader a thorough analysis not only of the different ways of representing reality but also of the processes of signification through which reality itself can be understood, rethought, and transformed. This is the general framework within which the authors consider film as a proper, effective medium for ecocritical and ecophilosophical reflections concerning not only Basilicata (to which the greater part of the volume is dedicated) but also Southern Italy and, therefore, its history and its territories, communities, and identities. Furthermore, in an even more general sense, Basilicata and Southern Italy reconnects with the very idea of the South, and of all Souths, to which this volume is dedicated.

Exam Board: AQA, Edexcel & Eduqas Level: AS/A-level Subject: Modern Languages First Teaching: September 2016 First Exam: June 2017 Film analysis made easy. Build your students' confidence in their language abilities and help them develop the skills needed to critique their chosen work: putting it into context, understanding the themes and director's technique, as well as specialist terminology. Breaking down each scene, character and theme in La Haine (Hate), this accessible guide will enable your students to understand the historical and social context of the film and give them the critical and language skills needed to write a successful essay. - Strengthen language skills with relevant grammar, vocab and writing exercises throughout - Aim for top marks by building a bank of textual examples and quotes to enhance exam response - Build confidence with knowledge-check questions at the end of every chapter - Revise effectively with pages of essential vocabulary and key mind maps throughout - Feel prepared for exams with advice on how to write an essay, plus sample essay questions, two levels of model answers and examiner commentary

In this edited volume, Kasi Lemmons, the first African-American woman auteur to solidly and steadily produce a full body of work in cinema-an oeuvre of quality, of note, of international recognition-will get the full film-studies treatment. This collection offers the first scholarly examination of Lemmons' films through various frameworks of film theory, illuminating her highly personal, unique, and rare vision. In Lemmons' worldview, the spiritual and the supernatural manifest in the natural, corporeal world. She subtly infuses her work with such images and narratives, owning her formalism, her modernist aesthetic, her cinematic preoccupations and her ontological leanings on race. Lemmons holds the varied experiences of African-American life before her lens-the ambitious bourgeoise, the spiritually lost, the ill and discarded, and the historically erased-and commits to capturing the nuances and differentiations, rather than perpetuating essentialized portrayals. This collection delves into Lemmons' iconoclastic drive and post-soul aesthetic as emanations of her attitudes toward personal agency, social agency, and social justice.

Dancer-choreographer-directors Fred Astaire, George Balanchine and Gene Kelly and their colleagues helped to develop a distinctively modern American film-dance style and recurring dance genres for the songs and stories of the American musical. Freely crossing stylistic and class boundaries, their dances were rooted in the diverse dance and music cultures of European immigrants and African-American migrants who mingled in jazz age America. The new technology of sound cinema let them choreograph and fuse camera movement, light, and color with dance and music. Preserved intact for the largest audiences in dance history, their works continue to influence dance and film around the world. This book centers them and their colleagues within the history of dance (where their work has been marginalized) as well as film tracing their development from Broadway to Hollywood (1924-58) and contextualizing them within the American history and culture of their era. This modern style, like the nation in which it developed, was pluralist and populist. It drew from aspects of the old world and new, "high" and "low", theatrical and social dance forms, creating new sites for dance from the living room to the street. A definitive ingredient was the freer more informal movement and behavior of their jazz-age generation, which fit with song lyrics that poeticized slangy American English. The Gershwins, Rodgers and Hart, and others wrote not only songs but extended dance-driven scores tailored to their choreography, giving a new prominence to the choreographer and dancer-actor. This book discuss how these choreographers collaborated with directors like Vincente Minnelli and Stanley Donen and cinematographers like Gregg Toland, musicians, dancers, designers and technicians to synergize music and moving image in new ways. Eventually, concepts and visual-musical devices derived from dance-making would give entire films the rhythmic flow and feeling of dance. Dancing Americans came to be seen around the world as archetypal embodiments of the free-spirited optimism and energy of America itself.

In his 1929 Hollywood production The Case of Lena Smith, director Josef von Sternberg vividly brought to life his youthful memories of the turn of the 20th century through the story a young woman fighting the oppressive class system of Imperial Vienna. Critic Dwight Macdonald called it "the most completely satisfying American film I have seen." And yet, only a short fragment survives. Assembling 150 original stills and set designs, numerous script and production documents and essays by eminent film historians, the book reconstructs one of the legendary lost masterpieces of the American cinema. It also includes essays by Janet Bergstrom, Gero Gandert, Franz Grafl, Alexander Horwath, Hiroshi Komatsu and Michael Omasta, a preface by Meri von Sternberg, as well as contemporary reviews and excerpts from Viennese literature of the era.

Written by a knowledgeable film critic and Korean War scholar, this is the only guide exclusively devoted to the study of Hollywood and television films based on the Korean War, 1950-1953. It opens with eight short essays, discussing the appeal of the war film genre, government and filmmaker cooperation, the isolation of Korean War films from other war films, why John Wayne didn't make a Korean War film, the other actors who did, the plots of Korean War films, television and Korean War films, and the myths resulting from films. Eighty-four films are then discussed in alphabetically arranged entries. The entries include production unit, color status, producer, director, screenwriter, actors and actresses, movie length, and the author's numerical rating of the film. The commentary places each film within the context of other war films, the Korean War, trends in Hollywood, and the social and political realities of the United States. The films also are listed chronologically. Producers, directors, screenwriters, actors, and actresses are indexed by responsibility and are included in the general index. The book also provides a list of 109 documentary films available for public viewing.

Examining a range of popular fantasy films released in the past decade, including the Harry Potter films, Jackson's Lord of the Rings series, and the Pirates of the Caribbean movies through to The Dark Knight and Avatar, this book explores the reasons for these films' incredible success. Pheasant-Kelly explores the meaningfulness of such films to current audiences while considering how technology, spectacle, and an increasing affinity for magic and mysticism have been important in promoting the turn to fantasy. The imagery and themes reflecting 9/11, new millennial anxieties, the war on terror, and environmental disasters have furthered fantasy's rise to dominance. Fantasies offer ways to subconsciously re-enact or work through traumatic memories of these issues for viewers reluctant to witness real images of death and destruction.

Sports films are popular forms of entertainment around the world, but beyond simply amusing audiences, they also reveal much about class, race, gender, sexuality, and national identity. In All-Stars and Movie Stars, Ron Briley, Michael K. Schoenecke, and Deborah A. Carmichael explore the interplay between sports films and critical aspects of our culture, examining them as both historical artifacts and building blocks of ideologies, values, and stereotypes. The book covers not only Hollywood hits such as Field of Dreams and Miracle but also documentaries such as The Journey of the African American Athlete and international cinema, such as the German film The Miracle of Bern. The book also explores television coverage of sports, commenting on the relationship of media to golf and offering a new perspective on the culture and politics behind the depictions of the world's most popular pastimes. The first part of the book addresses how sports films represent the cultural events, patterns, and movements of the times in which they were set, as well as the effect of the media and athletic industry on the athletes themselves. Latham Hunter examines how the baseball classic The Natural reflects traditional ideas about gender, heroism, and nation, and Harper Cossar addresses how the production methods used in televised golf affect viewers. The second section deals with issues such as the growth of women's involvement in athletics, sexual preference in the sports world, and the ever-present question of race by looking at sports classics such as Rocky, Hoosiers, and A League of Their Own. Finally, the authors address the historical and present-day role sports play in the international and political arena by examining such films as Visions of Eight and The Loneliness of the Long Distance Runner. This important and unique collection illuminates the prominent role that sports play in society and how that role is reflected in film. Analysis of the depiction of sports in film and television provides a deeper understanding of the appeal that sports hold for people worldwide and of the forces behind the historic and cultural traditions linked to sports.

The book is an exploration of the creative crossings between the liberative stream of the eschatology of Edward Schillebeeckx and the stylistic strategies of "Third Cinema," political cinema dedicated to the representation of Third World liberation.

'It is a Lord of the Flies parable with Bhagwan as lord. The book is a fascinating social history, with many celebrities, from Diana Ross to Prince Charles. - Helen Rumbelow, The Times This is the story of a Englishman who gave up a job in journalism to spend fourteen years with the controversial Indian mystic Osho, also known as Bhagwan Shree Rajneesh and frequently referred to as 'the sex guru'. His guru was always controversial with his teachings on sex and spirituality, rumours of orgies and because he owned ninety-three Rolls Royces. Early in 1976, Subhuti travelled to India to meet Rajneesh in his ashram in Pune, became initiated as his disciple and immediately began to have mystical experiences, which he attributed to the powerful energy field surrounding the guru. He stayed for six months, participating in the ashram's notorious Encounter Group and other therapies designed to release suppressed emotions and awaken sexual energy Subhuti would stay to live and work on his master's ashrams for fourteen years, first as his press officer in Pune, India, then as editor of the community's weekly newspaper when Bhagwan and his followers shifted to Oregon, USA, and built a whole new town on the massive Big Muddy Ranch. There Subhuti was a first-hand witness to the scandals and hullabaloo that accompanied the guru, including tales of broken bones in no-holds-barred therapy groups and Tantra groups that encouraged total sexual freedom, and the increasing hostility with the locals which would lead to Bhagwan's attempt to flee America, his arrest and imprisonment. . He was on the Oregon Ranch when Rajneesh's secretary, Ma Anand Sheela, plotted against rival cliques within the ashram as well as a range of murderous crimes against state and federal officials which feature in hit Netflix series Wild Wild Country. Yet, amidst it all, Subhuti could see the profound revolution in spirituality that Bhagwan was creating, leaving a lasting impact on our ideas about society, religion, meditation and personal transformation. According to the author's understanding, it was the controversy itself, plus Bhagwan's refusal to tread the path of a spiritual saint, that became the stepping stone to a new vision of what it means to be a spiritual seeker.

In 2011, Englishman Robert Mullan began an almost impossible film project: namely, to finance and shoot a film in 3 languages - Lithuanian, Russian, and Polish - neither of which he could read, write, or speak. Mullan realized that the project would entail him shooting with Lithuanian actors, in various cities in Lithuania and Russia, and that he would then be preparing the film with English subtitles. But, Mullan was undeterred. The project had its genesis when, while working in Kaunas as a volunteer university lecturer in psychology, Mullan learned about the relatively unknown Lithuanian artist and composer, Mikalojus Konstantinas Ciurlionis. This man had produced over 300 paintings and sketches, composed over 300 musical pieces (including two symphonic poems), fought for the independence of his small nation from the control of imperial Russia, fell in love with a fellow activist, and then died, tragically, at the young age of 35. And so began the project. Mullan decided to keep a diary, not only to record day-to-day events and thoughts while filming, but also to provide a guide as how not to finance and produce a feature film. The diary includes both amusing and less-funny moments, for example: the crew's encounter with Russian border guards as they entered the country to shoot some scenes in St. Petersburg * the endless problems with the translation of the script * continual arguments with co-producers * the ongoing quest for money and the belief that funds would run out before the completion of the film * an unexpected diagnosis of cancer * magnificent music * startling paintings. The film - Letters to Sofija - was finally completed, edited in London, and shown in Vilnius, Chicago, and London. The film will be distributed internationally. This book documents Mullan's experiences in the making of Letters to Sofia.

Film is often conceived as a medium that is watched rather than experienced. Existing studies of film audiences, and of media reception more broadly, have revealed the complexity of viewing practices and cultures surrounding cinema-going and its exhibition spaces. Experiencing Cinema offers the first in-depth study of participant engagement with a range of experiential media forms derived from cinema culture. From sing-a-long screenings to theatrical extravaganzas, a broad spectrum of alternative film-going practices and immersive spaces are explored and analysed in this original audience study. Moving from intimate community gatherings to blockbuster urban venues, from isolated farmhouses to Olympic stadia, Experiencing Cinema considers the lure and value of these popular events. Often attracting a diverse, intergenerational range of participants, from early-adopter urban hipsters to DIY rural communities, the growing demand for participatory cinema within the contemporary marketplace is analysed alongside broader debates circulating around the move away from traditional tiered seating and increased audience mobility and the de-centring of the film text.