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Any on-screen schmuck can take down a wolfman with a silver bullet. It takes a certain kind of hero to hoist that wolfman overhead into an airplane spin, follow with a body slam, drop an atomic elbow across his mangy neck, leg-lock him until he howls, and pin his furry back to the mat for a three-count. It takes a Mexican masked wrestler. Add a few half-naked vampire women, Aztec mummies, mad scientists, evil midgets from space, and a goateed Frankenstein monster, and you have just some of the elements of Mexican masked wrestler and monster movies, certainly among the most bizarre, surreal and imaginative films ever produced. This filmography features some of the oddest cinematic showdowns e...
Thanks in large part to an exploitation film producer and distributor named K. Gordon Murray, a unique collection of horror films from Mexico began to appear on American late-night television and drive-in screens in the 1960s. Ranging from monster movies clearly owing to the heyday of Universal Studios to the lucha libre horror films featuring El Santo and the "Wrestling Women," these low-budget "Mexploitation" films offer plenty of campy fun and still inspire cult devotion, yet they also reward close study in surprising ways. This work places Mexploitation films in their historical and cultural context and provides close textual readings of a representative sample, showing how they can be seen as important documents in the cultural debate over Mexico's past, present and future. Stills accompany the text, and a selected filmography and bibliography complete the volume.
This title is of value to businesses from all sectors which are considering their re-engineering and restructuring options, as well as those that are reviewing both their approach to international expansion, and whether there are other ways to penetrate domestic markets which their typical expansion model does not allow them to address.This first edition of Alternative Corporate Re-engineering will be of great assistance to corporations and their counsel, providing valuable insights and guidance to these complicated processes
Cosmopolitan Film Cultures in Latin America examines how cinema forged cultural connections between Latin American publics and film-exporting nations in the first half of the twentieth century. Predating today's transnational media industries by several decades, these connections were defined by active economic and cultural exchanges, as well as longstanding inequalities in political power and cultural capital. The essays explore the arrival and expansion of cinema throughout the region, from the first screenings of the Lumière Cinématographe in 1896 to the emergence of new forms of cinephilia and cult spectatorship in the 1940s and beyond. Examining these transnational exchanges through t...
How long have psychotherapists been depicted in films? Nearly as long as there have been films--or psychotherapists, for that matter. This isn't surprising if one considers that the Freudian revolution in psychology and the invention of motion pictures occurred at about the same time. What may be surprising is the sheer number of times that psychotherapists, in their many guises, have shown up in the movies and how their depiction has reflected changing social attitudes about psychotherapy over the last century. This comprehensive worldwide filmography examines over 5000 movies. Films in which mental health professionals appear, or in which others act in that capacity, are listed alphabetically. A preface explains the criteria for a film's inclusion, and a lengthy introduction and guide to the filmography explores the changing social attitudes mirrored by the movies. Appendices list the titles by decade; alternate titles for many films; recent releases; and qualifying adult films.
This is the first critical account of the internationally renowned Mondragon cooperatives of the Basque region of Spain. The Mondragon cooperatives are seen as the leading alternative model to standard industrial organization; they are considered to be the most successful example of democratic decision making and worker ownership. However, the author argues that the vast scholarly and popular literature on Mondragon idealizes the cooperatives by falsely portraying them as apolitical institutions and by ignoring the experiences of shop floor workers. She shows how this creation of an idealized image of the cooperatives is part of a new global ideology that promotes cooperative labor-management relations in order to discredit labor unions and working-class organizations; this constitutes what she calls the "myth" of Mondragon.
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First came video and more recently high definition home entertainment, through to the internet with its streaming videos and not strictly legal peer-to-peer capabilities. With so many sources available, today’s fan of horror and exploitation movies isn’t necessarily educated on paths well-trodden — Universal classics, 1950s monster movies, Hammer — as once they were. They may not even be born and bred on DAWN OF THE DEAD. In fact, anyone with a bit of technical savvy (quickly becoming second nature for the born-clicking generation) may be viewing MYSTICS IN BALI and S.S. EXPERIMENT CAMP long before ever hearing of Bela Lugosi or watching a movie directed by Dario Argento. In this world, H.G. Lewis, so-called “godfather of gore,” carries the same stripes as Alfred Hitchcock, “master of suspense.” SPINEGRINDER is one man’s ambitious, exhaustive and utterly obsessive attempt to make sense of over a century of exploitation and cult cinema, of a sort that most critics won’t care to write about. One opinion; 8,000 reviews (or thereabouts.
Founded by Robert M. Savini in 1933, Astor Pictures Corporation distributed hundreds of films in its 32 years of operation. The company distributed over 150 first run features in addition to the numerous re-releases for which it became famous. Astor had great success in the fields of horror and western movies and was a pioneer in African-American film productions. While under Savini's management, Astor and its subsidiaries were highly successful, but after his death in 1956 the company was sold, leading to eventual bankruptcy and closure. This volume provides the first in-depth look at Astor Pictures Corporation with thorough coverage of its releases, including diverse titles like La Dolce Vita and Frankenstein's Daughter.
This volume, arranged alphabetically by original author, provides basic information about stage and screen productions based upon the novels of 40 women writers before 1900. Each entry includes the novel and its publication date, the published texts or dramatizations based upon the book, and the performances of the piece in live theater and film versions, including the location, dates, and playwright or screenwriter (if there was one). For some of the performances the author includes a brief annotation listing the actors and describing the production.