David Fincher's Zodiac (2007), written by producer James Vanderbilt and adapted from the true crime works of James Graysmith, remains one of the most respected films of the early 21st century. As the second film featuring a serial killer (and the first based on fact) by Fincher, Zodiac remains a standout in a varied but stylistically unified career. It similarly stands out among a new wave of crime cinema in the early 2000s, including the modern classics Inside Man, Michael Clayton, and Academy Award winner No Country for Old Men. While commonly described as a serial killer film, Zodiac also hybridizes the policier genre and the investigative reporter film. And yet, scholarship has largely ignored the film. This collection, edited by Matthew Sorrento and David Ryan, is the first book-length study dedicated to the film. Section One focuses on early influences, such as serial and spree killer films of the 1960s and 70s and how their treatments helped to shape Fincher's film. The second section analyses the film's unique treatment of narrative with studies of rhetoric onscreen, intertextuality, and gender. The book closes with a section on media studies, including chapters focusing on game theory, data and hegemony, the Zodiac's treatment in music, and the use of sound in cinema. By offering new avenues in Zodiac studies and continuing a few established ones, this book will interest scholars of cinema and true crime along with fans and enthusiasts in these areas.

Kubrick and Control is an examination of authority, order, and independence in the films directed by Stanley Kubrick, as well as in his personal life and working habits. This study explores the ways in which these central preoccupations develop and reformulate through the course of Kubrick's career, as he moved from genre to genre and shifted stories, locations, time periods, scope, and technical facilities. Separating the productions in accordance to their wider filmic classifications, the individual chapters examine a variety of productions, allowing for a categorical as well as a developmental approach to the works. In addition, following concurrently with each individual film discussed, details about Kubrick's life and evolving directorial practice are recounted in relation to these same concerns. In studying the stylistic and narrative features of his work, examples illustrate how Kubrick took these themes and applied them consistently yet with significant variation, manifest in relation to mise-en-scène construction (how Kubrick composed his images); characterization (individuals establishing, exerting, seeking, and/or abusing their authority); narrative (stories about characters and situations dependent upon order and control); and the actual filmmaking processes of the director (Kubrick was both praised and damned for his authorial management and obsession with order and perfection).

Roman Polanski's Repulsion (1965), starring Catherine Deneuve as a repressed and tormented manicurist, is a gripping, visually inventive descent into paranoia and self-destructive alienation. Emblematic of recurrent Polanski motifs, evinced in his student short films, in his striking debut feature, Knife in the Water (1962), and in subsequent features like Death and the Maiden (1994), Repulsion is a tour de force examination of crippling anxiety and the sinister potency of inanimate objects. Repulsion amplifies the realm of psychological horror by evoking the seething impact of increasing delusion, literal and figurative seclusion, and the consequences of one woman's foreboding sensitivity to the unsettling world that surrounds her. This Devil's Advocate considers Repulsion within the context of familiar horror tropes and the prevailing qualities of Polanski's broader oeuvre. Drawing on the research of Sigmund Freud, Julia Kristeva, Barbara Creed and others, concerning issues of abjection, the 'monstrous-feminine', and the psychology of horror spectatorship, this text focuses on central themes of isolation, sexuality and setting. Bookended by introductory biographical details and concluding with a roundup of the film's reception, Jeremy Carr situates Repulsion within the horror genre at large as well as its various off-shoots, such as the rape/revenge subgenre. There is also an analysis of the film's technical qualities, from its sound design to its brilliantly low-key special effects, all of which define the film as Polanski's most audaciously stylish realisation of dread and unease.

Roman Polanski's Repulsion (1965), starring Catherine Deneuve as a repressed and tormented manicurist, is a gripping, visually inventive descent into paranoia and self-destructive alienation. Emblematic of recurrent Polanski motifs, evinced in his student short films, in his striking debut feature, Knife in the Water (1962), and in subsequent features like Death and the Maiden (1994), Repulsion is a tour de force examination of crippling anxiety and the sinister potency of inanimate objects. Repulsion amplifies the realm of psychological horror by evoking the seething impact of increasing delusion, literal and figurative seclusion, and the consequences of one woman's foreboding sensitivity to the unsettling world that surrounds her. This Devil's Advocate considers Repulsion within the context of familiar horror tropes and the prevailing qualities of Polanski's broader oeuvre. Drawing on the research of Sigmund Freud, Julia Kristeva, Barbara Creed and others, concerning issues of abjection, the 'monstrous-feminine', and the psychology of horror spectatorship, this text focuses on central themes of isolation, sexuality and setting. Bookended by introductory biographical details and concluding with a roundup of the film's reception, Jeremy Carr situates Repulsion within the horror genre at large as well as its various off-shoots, such as the rape/revenge subgenre. There is also an analysis of the film's technical qualities, from its sound design to its brilliantly low-key special effects, all of which define the film as Polanski's most audaciously stylish realisation of dread and unease.