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Darkening the Italian Screen
The birth and rise of popular Italian cinema since the early 1950s can be attributed purely to necessity. The vast number of genres, sub-genres, currents and crossovers and the way they have overlapped, died out or replaced each other has been an attempt, in postwar years, to contain the invasion of U.S. product while satisfying the demands the American industry had created in Italy. The author explores one of the most multi-faceted and contradictory industries cinema has ever known through the careers of those most closely associated with it. His recorded interviews were conducted with directors and actors both well-known and upcoming.
Cruising
In the fading atmosphere of the New Hollywood era, William Friedkin – the wunderkind director with an Academy Award for his cop drama, The French Connection (1971) who then scored an even bigger success with The Exorcist (1973) – began work on what would prove to be the most controversial film of his career: Cruising (1980). In the process he established a template for a sub-genre, the serial killer thriller, that would thrive long after his film had left theatres, having caused widespread offence among the very audience he'd hoped to appeal to, via a campaign mobilised by the counter-culture press. As such, Cruising can be read as a bitter farewell to the seventies and its cinema and industry. This Devil's Advocate dives deep into the phenomenon that is Cruising, examining its creative context and its protagonists, as well as examining its ongoing popularity as it turns 40 in 2020.
Darkening the Italian Screen II
This work is a detailed portrait of one of the most important, bustling and absurd industries that cinema has ever known: colorful essays and nine career-spanning interviews with Italian genre directors of the 1970s, such as Luigi Cozzi, Francesco Barilli, Lamberto Bava and more. The directors reflect on their successes, failures and experiences directing films in the Italian westerns, sci-fi and horror genres. Following the anecdotes, gossip and controversies of the industry, the essays employ critical analyses to fully unveil the Italian genre cinema, as well as its impact on films across the world.
The Spaghetti Western Digest
Welcome Pardners' to the second issue of The Spaghetti Western Digest! Two hundred forty-five pages of delicious Spaghetti western content. In this issue, we look at the good, the bad, and the genre's obscure films. We have also included new interviews with Italian film experts Daniel Camargo, Roberto Curti, Kevin Grant, and the fabled director Sergio Martino! The contributors to this issue include some of the genres best writers, including Tom Betts, Dennis Capicik, Eugenio Ercolani, Steve Fenton, Rene Hogguer, Steve Mason, Tony Nash, and Van Roberts! Michael Hauss edits the Spaghetti Western Digest. So, for A Fistful of Dollars, issue #2 can be yours, Amigos!
Darkening the Italian Screen II
This work is a detailed portrait of one of the most important, bustling and absurd industries that cinema has ever known: colorful essays and nine career-spanning interviews with Italian genre directors of the 1970s, such as Luigi Cozzi, Francesco Barilli, Lamberto Bava and more. The directors reflect on their successes, failures and experiences directing films in the Italian westerns, sci-fi and horror genres. Following the anecdotes, gossip and controversies of the industry, the essays employ critical analyses to fully unveil the Italian genre cinema, as well as its impact on films across the world.
Daughters of Darkness
Harry Kümel's cult classic Daughters of Darkness (1971) is a vampire film like no other. Kat Ellinger explores the film's association with fairy tales, the Gothic and fantastic tradition, as well as delving into aspects of the legend of Countess Bathory, traditional vampire lore, and much more. The book also contains new and exclusive interviews.
Peeping Tom
Reviled on its release, Peeping Tom (1960) all-but ended the career of director Michael Powell, previously one of Britain's most revered filmmakers. The story of a murderous cameraman and his compulsion to record his killings, Powell's film stunned the same critics who had acclaimed him for the work he'd made with writer-producer Emeric Pressburger (The Life and Death of Colonel Blimp, 1943; A Matter of Life and Death, 1946), resulting in the film falling out of circulation almost as soon as it was released. It took the 1970s 'Movie Brat' generation to rehabilitate the director, and the film, which is now regarded as a masterpiece. In this Devil's Advocate, published to coincide with the film's 60th anniversary, Kiri Walden charts the origins, production and devastating critical reception of Peeping Tom, comparing it to the treatment meted out to its contemporary horror classic, Alfred Hitchcock's Psycho (1960).
Possession
Premiering at the 1981 Cannes Film Festival, Andrzej Żuławski’s Possession remains a distinct phenomenon. Though in competition for the illustrious Palme d’Or, its art cinema context did not rescue it from being banned as part of the United Kingdom’s ‘video nasties’ campaign, alongside unashamedly lowbrow titles such as Faces of Death and Zombie Flesh Eaters. Skirting the boundary between art and exploitation, body horror and cerebral reverie, relationship drama and political statement, Possession is a truly astonishing film. Part visceral horror, part surreal experiment, part gothic romance dressed in the iconography of a spy thriller: there is no doubt that the polarity evinced...
Prevenge
Prevenge (2016) is an entertainingly dark 21st-century horror movie detailing the serial killing journey of heavily pregnant Ruth. It’s a cleverly crafted narrative full of stark social commentary, traversing the delicate line between comedy and tragedy by fusing together a kitchen sink approach with a supernatural revenge plot. This book, as part of the Devil’s Advocates series, examines how the film deconstructs the slasher mythology and the sexism therein, and upends stereotypical representations of the ‘weak’ woman and ‘delicate’ mother. With new exclusive input from writer, director and star Alice Lowe, the text also looks at the production’s inception and development, assesses its debts to cult British cinema, and inspects its umbilical connections to Rosemary’s Baby, Alien, Village of the Damned and many other ‘Monstrous Child’ silver screen features.
Scrooge
This Devil’s Advocate explores the cinematic wonders of Brian Desmond Hurst’s much loved 1951 adaptation of A Christmas Carol, Scrooge, through the prism of horror cinema, arguing that the film has less in common with cosy festive tradition than it does with terror cinema like James Whale’s Bride of Frankenstein, Robert Weine’s The Cabinet of Dr. Caligari, and F.W. Murnau’s Faust. Beginning with Charles Dickens himself, a prolific writer of ghost stories, with A Christmas Carol being but one of many, Colin Fleming then considers earlier cinematic adaptations including 1935’s folk-horror-like Scrooge, before offering a full account of the Hurst/Sim version, stressing what must always be kept at the forefront of our minds: this is a ghost story.
