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Download Our Last Catalog for 2018/19
1 MIDNIGHT MARQUEE 2018/19 CATALOG The Perfect GIFTS for Your Favorite Movie Buff! Vol. 1 NEW COVER WE KNOW MOVIES! Midnight Marquee Press • 9721 Britinay Lane, Baltimore, MD 21234 2 A Letter from Gary and Sue Svehla of Midnight Marquee Press We would like to apologize to our many long time customers as well as to our many new ones for the lateness of this catalog and our slowness in get- ting your orders out. It’s been a rough several years as Sue has been facing medical challenges, but we have finally found a diagnosis and she is on a healing path. Of course we will try to get your orders out quickly, but we’re getting old and slow (not to mention forgetful) so— if you need your books quickly, please order them from AMAZON.com or OLDIES.com. Most of our books are now being converted to e-books by Bear Manor Media, so you can order those from Amazon.com. We thank you for your patience, your business and your friendship through the years. Gary and Sue Svehla Table of Contents 3 New Titles from MMP Payment: We accept 5 Brit Horrors all major credit cards, 12 Italian Horror checks, money orders 15 Biographies and Autobios and PayPal. 19 Musical Bios 20 MidMar’s Actors Series Shipping: We try to 21 Histories of Horror Films ship within 7 work- ing days, but it’s just the two of us and we’re 25 Histories of Sci-Fi Films getting old and slow. 26 Hooray for Hollywood— other genres If you need your order fast, PLEASE 28 Exploitation Horrors order from Amazon.com or Oldies.com Most books will arrive from Createspace— 29 Forgotten Horrors & DVDs, mags, bookplates, etc. -
H K a N D C U L T F I L M N E W S
More Next Blog» Create Blog Sign In H K A N D C U L T F I L M N E W S H K A N D C U LT F I L M N E W S ' S FA N B O X W E L C O M E ! HK and Cult Film News on Facebook I just wanted to welcome all of you to Hong Kong and Cult Film News. If you have any questions or comments M O N D AY, D E C E M B E R 4 , 2 0 1 7 feel free to email us at "SURGE OF POWER: REVENGE OF THE [email protected] SEQUEL" Brings Cinema's First Out Gay Superhero Back to Theaters in January B L O G A R C H I V E ▼ 2017 (471) ▼ December (34) "MORTAL ENGINES" New Peter Jackson Sci-Fi Epic -- ... AND NOW THE SCREAMING STARTS -- Blu-ray Review by ... ASYLUM -- Blu-ray Review by Porfle She Demons Dance to "I Eat Cannibals" (Toto Coelo)... Presenting -- The JOHN WAYNE/ "GREEN BERETS" Lunch... Gravitas Ventures "THE BILL MURRAY EXPERIENCE"-- i... NUTCRACKER, THE MOTION PICTURE -- DVD Review by Po... John Wayne: The Crooning Cowpoke "EXTRAORDINARY MISSION" From the Writer of "The De... "MOLLY'S GAME" True High- Stakes Poker Thriller In ... Surge of Power: Revenge of the Sequel Hits Theaters "SHOCK WAVE" With Andy Lau Cinema's First Out Gay Superhero Faces His Greatest -- China’s #1 Box Offic... Challenge Hollywood Legends Face Off in a New Star-Packed Adventure Modern Vehicle Blooper in Nationwide Rollout Begins in January 2018 "SHANE" (1953) "ANNIHILATION" Sci-Fi "A must-see for fans of the TV Avengers, the Fantastic Four Thriller With Natalie and the Hulk" -- Buzzfeed Portma.. -
A Dark New World : Anatomy of Australian Horror Films
A dark new world: Anatomy of Australian horror films Mark David Ryan Faculty of Creative Industries, Queensland University of Technology A thesis submitted in fulfillment of the degree Doctor of Philosophy (PhD), December 2008 The Films (from top left to right): Undead (2003); Cut (2000); Wolf Creek (2005); Rogue (2007); Storm Warning (2006); Black Water (2007); Demons Among Us (2006); Gabriel (2007); Feed (2005). ii KEY WORDS Australian horror films; horror films; horror genre; movie genres; globalisation of film production; internationalisation; Australian film industry; independent film; fan culture iii ABSTRACT After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream. -
UNIVERSITY of CALIFORNIA, SAN DIEGO Re-Thinking
UNIVERSITY OF CALIFORNIA, SAN DIEGO Re -thinking the Immigrant Narrative in a Global Perspective: Representations of Labor, Gender and Im/migration in Contemporary Cultural Productions A dissertation submitted in partial satisfaction of the requireme nt s for the degree Doctor of Philosophy in Literature by Irene Mata Committee in charge: Professor Rosaura Sánchez, Chair Professor Michael Davidson Professor Jorge Huerta Professor Lisa Lowe Professor Shelley Streeby 2007 Copyright Irene Mata, 2007 All rights reserved. The Dissertation of Irene Mata is approved, and it is acceptable in quality and form for publication on microfilm. Chair University of California , San Diego 2007 iii DEDICATION Par a mi madre , Irene Martinez de Mata . iv TABLE OF CONTENTS Signature Page…………………………………………………… .. ……… ….iii Dedication………………………………………………………………… .... ..iv Table of Contents……………………………………………………… …... …v Acknowledgements……………………………………………………… ... ....vi Vita……………………………………… ……………………………… ... ... vii i Abstract……………………………………………………………… .. ... ……ix Introduction………………………………………………………… .…… .….1 Chapter One : Up by Their Bootstraps or Can you D ance the Spanglish Lambada in the Barrio, Pocho?: The Immigrant Narrative Across Time, Place and Gender in Pocho , Barrio Boy , Spanglish and The Forbidden Dance is the Lambada .……………………………………………………. ... 25 Chapter Two : Alternative Narratives: Representations of Domestic Labor and Immigration in the Southwest .. ………………………………………. ... 71 Chapte r Three : “Ab ove All…Strive to be Invisible.” From the Suburbs to the Hotel: Representations of Domestic Labor in the Northeast U.S ………12 4 Conclusion…………………………………………………………………. 18 1 References.. ………………………………… ……………………………... 19 1 v ACKNOWLEDGEMENTS Thank you to the Center for the Study of Race and Ethnicity and the Department of Literature for helping to fund my research and writing. I would like to acknowledge all of the help and guidance from my committee members . -
East-West Film Journal, Volume 5, No. 1
EAST-WEST FILM JOURNAL VOLUME 5 . NUMBER 1 SPECIAL ISSUE ON MELODRAMA AND CINEMA Editor's Note I Melodrama/Subjectivity/Ideology: The Relevance of Western Melodrama Theories to Recent Chinese Cinema 6 E. ANN KAPLAN Melodrama, Postmodernism, and the Japanese Cinema MITSUHIRO YOSHIMOTO Negotiating the Transition to Capitalism: The Case of Andaz 56 PAUL WILLEMEN The Politics of Melodrama in Indonesian Cinema KRISHNA SEN Melodrama as It (Dis)appears in Australian Film SUSAN DERMODY Filming "New Seoul": Melodramatic Constructions of the Subject in Spinning Wheel and First Son 107 ROB WILSON Psyches, Ideologies, and Melodrama: The United States and Japan 118 MAUREEN TURIM JANUARY 1991 The East-West Center is a public, nonprofit educational institution with an international board of governors. Some 2,000 research fellows, grad uate students, and professionals in business and government each year work with the Center's international staff in cooperative study, training, and research. They examine major issues related to population, resources and development, the environment, culture, and communication in Asia, the Pacific, and the United States. The Center was established in 1960 by the United States Congress, which provides principal funding. Support also comes from more than twenty Asian and Pacific governments, as well as private agencies and corporations. Editor's Note UNTIL very recent times, the term melodrama was used pejoratively to typify inferior works of art that subscribed to an aesthetic of hyperbole and that were given to sensationalism and the crude manipulation of the audiences' emotions. However, during the last fifteen years or so, there has been a distinct rehabilitation of the term consequent upon a retheoriz ing of such questions as the nature of representation in cinema, the role of ideology, and female subjectivity in films. -
What Killed Australian Cinema & Why Is the Bloody Corpse Still Moving?
What Killed Australian Cinema & Why is the Bloody Corpse Still Moving? A Thesis Submitted By Jacob Zvi for the Degree of Doctor of Philosophy at the Faculty of Health, Arts & Design, Swinburne University of Technology, Melbourne © Jacob Zvi 2019 Swinburne University of Technology All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. II Abstract In 2004, annual Australian viewership of Australian cinema, regularly averaging below 5%, reached an all-time low of 1.3%. Considering Australia ranks among the top nations in both screens and cinema attendance per capita, and that Australians’ biggest cultural consumption is screen products and multi-media equipment, suggests that Australians love cinema, but refrain from watching their own. Why? During its golden period, 1970-1988, Australian cinema was operating under combined private and government investment, and responsible for critical and commercial successes. However, over the past thirty years, 1988-2018, due to the detrimental role of government film agencies played in binding Australian cinema to government funding, Australian films are perceived as under-developed, low budget, and depressing. Out of hundreds of films produced, and investment of billions of dollars, only a dozen managed to recoup their budget. The thesis demonstrates how ‘Australian national cinema’ discourse helped funding bodies consolidate their power. Australian filmmaking is defined by three ongoing and unresolved frictions: one external and two internal. Friction I debates Australian cinema vs. Australian audience, rejecting Australian cinema’s output, resulting in Frictions II and III, which respectively debate two industry questions: what content is produced? arthouse vs. -
Lucky Sevens Nov 2005.PUB
The Lucky Sevens The Official Newsletter of the 7th Brigade Starfleet Marine Corps A Division of STARFLEET The International Star Trek Fan Association Volume 3 Issue 6 Page 1 November 2005 The Lucky Sevens The Official Newsletter of the 7th Brigade, SFMC In This Issue: 7th Brigade Command Staff • Brigade Command Staff Reports 7th Brigade OIC BGen Larry Niegut • Brigade Support Staff Reports [email protected] • Battalion OIC Reports • Awards Issued 7th Brigade DOIC Major Rey Cordero • Brigade Activities during the past [email protected] 60 days • Doohan’s Ashes to be sent into 7th Brigade Aide de Camp Brigadier James Pepe Space • Air Force testing new transparent armor 7th Brigade Sergeant Major Vacant • Conventions of the Seventh Bri- gade 7th Brigade Support Staff 7th Brigade Communications Director Brigadier Joseph C Dorffner Jr [email protected] 7th Brigade Electronic Services Officer Colonel Sean Neimeyer [email protected] Assistant Editor - “The Lucky Sevens” Lt Colonel Keith J Keppley [email protected] The Lucky Sevens is published electronically six 7th Brigade Quartermaster (6) times per calendar year, during odd-numbered BGen Martin Lessem months. All submissions regarding the 7th Brigade are [email protected] welcome, and may be submitted to the 7th Brigade Com- munications Director electronically at [email protected] (please put “Newsletter Sub- mission” in the subject line of your e-mail). Deadlines are normally the 20th of even-numbered months. Opinion articles do not necessarily represent the Battalion OICs views of The Lucky Sevens or the 7th Brigade Com- OIC 1st Battalion (DE) OIC 2nd Battalion (DC) mand Staff. -
Amongst Friends: the Australian Cult Film Experience Renee Michelle Middlemost University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2013 Amongst friends: the Australian cult film experience Renee Michelle Middlemost University of Wollongong Recommended Citation Middlemost, Renee Michelle, Amongst friends: the Australian cult film experience, Doctor of Philosophy thesis, School of Social Sciences, Media and Communication, University of Wollongong, 2013. http://ro.uow.edu.au/theses/4063 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Amongst Friends: The Australian Cult Film Experience A thesis submitted in fulfillment of the requirements for the award of the degree DOCTOR OF PHILOSOPHY From UNIVERSITY OF WOLLONGONG By Renee Michelle MIDDLEMOST (B Arts (Honours) School of Social Sciences, Media and Communications Faculty of Law, Humanities and The Arts 2013 1 Certification I, Renee Michelle Middlemost, declare that this thesis, submitted in fulfillment of the requirements for the award of Doctor of Philosophy, in the Department of Social Sciences, Media and Communications, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Renee Middlemost December 2013 2 Table of Contents Title 1 Certification 2 Table of Contents 3 List of Special Names or Abbreviations 6 Abstract 7 Acknowledgements 8 Introduction -
Cine-Excess Journal 4
Down Under Rises Up: Nature’s Revenge in Ozploitation Cinema Lindsay Hallam Abstract The Australian outback is a place of isolation. Harsh and uninviting, it seems to hold within it the ghosts of past crimes and a will to destroy anyone who dare try to colonise and contain it. Yet, for the past two hundred years many have sought to dominate this land and in Australian horror cinema the land is beginning to take its revenge. ‘Ozploitation’ flms such as Wake in Fright (1971), Long Weekend (1978), Roadgames (1981), Razorback (1984), Fair Game (1986), and Dark Age (1987), as well as post-2000 horror flms such as Black Water (2007), Rogue (2007), and Dying Breed (2008), often have characters battling against the unforgiving environment and its inhabitants. In retaliation against the exploitation and abuse perpetrated by these white settlers, these flms present nature as a presence that seeks to avenge and punish past wrongs. Through the analysis of several key flms from Ozploitation past and present, this article will investigate how these flms subvert many common Australian stereotypes and question Australian’s national identity as one that is predominantly white, male and rural, demonstrating that nonhuman animals and landscape play an important role in commenting on, and embodying, national history and identity. Keywords: Ozploitation, Eco-horror, Nature, Nonhuman, Animals, Australia, Revenge. Introduction Game (1986), Dark Age (1987), and The The Australian outback is a place of Howling III: The Marsupials (1987), as well isolation. Harsh and uninviting, it seems to as post-2000 horror flms such as Wolf Creek hold within it the ghosts of past crimes and (2005), Black Water (2007), Rogue (2007), a will to destroy anyone who dare try to and Dying Breed (2008), often have colonise and contain it. -
Landscape and Ecology in the Australian New Wave
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School March 2021 Threatened by the Outback: Landscape and Ecology in the Australian New Wave Richard T. Dyer University of South Florida Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the Film and Media Studies Commons Scholar Commons Citation Dyer, Richard T., "Threatened by the Outback: Landscape and Ecology in the Australian New Wave" (2021). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/8762 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Threatened by the Outback: Landscape and Ecology in the Australian New Wave by Richard T. Dyer A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Liberal Arts with a concentration in Film Studies Department of Humanities and Cultural Studies College of Arts and Sciences University of South Florida Major Professor: Amy Rust, Ph.D. Margit Grieb, Ph.D. Todd Jurgess, Ph.D. Date of Approval: March 15, 2021 Keywords: Film, Linear Perspective, Long Take, Classic Western, Revisionist Western, Anthropocentrism Copyright © 2021, Richard T. Dyer ACKNOWLEDGMENTS Thank you to those in the Humanities and Cultural Studies department who have helped this project come to fruition. In particular, I would like to thank Dr. Margit Grieb and Dr. Todd Jurgess for providing insightful feedback and stoking my interests in ecocinema and westerns. -
CULT CÍNEMA: a CRITICAL SYMPOSIUM Featuring Joe Bob Briggs, J
CULT CÍNEMA: A CRITICAL SYMPOSIUM Featuring Joe Bob Briggs, J. Hoberman, Damien Love, Tim Lucas, Danny Peary, Jeffrey Sconce and Peter Stanfield As the marginal goes mainstream^ critical connoisseurs debate the frenzied life, near death, and rejuvenation of cult cinema Oit of us know someone who can't get between the cttit ftlm and the marketplace. View- through a day without qiiotiitg from ing the phenomenon of cult film through the lens Joe Bob Briggs M Twin'Peaks: Fire Walk With Me, of the fan elicits questions about what distinguish- 1) Ihe cull film is taken from a pool of Casablanca, Dracula or some other coiiiptihively es cult interest from the more getierat category of movies your mama told you not to watch. So worshipped movie. Other people tire of hearitig cinephilia; differences between the opportunities you start with rebel filmmakers, and then them intone. "Eeelectrkity!," "Routtd up the usual for cult fans now atui cult fans Ixukin tlie day ofpre- within that pool iuspects, " or "I rtcver drink... witte, " but the}' per- home-viewing technologies; and the motives and cul- you have filmmak- severate and we screen them out. At what point, tural roles of the cult fan. ers rebelling against however, does this hid of behavior cease to seem Viewing the cult film in terms of its definition the rebels. A small cpiaintty quasipathotogical and begirt to call to us as an object, our contributors have confronted handful of those are as a sipiiftctmt spectacle? Is it a matter of the questions about cult esthetics: whether they are so quirky and/or ferocity of their ardor? Or their numbers? WoitM distinctly different from the esthetics of main- fetishistlc that they },000 people attending a Star Trek convention stream film; the independence of cult creators; attract a loyal fol- wearing Mr. -
Kitty and the Bagman Music Credits
Music Composed & Conducted by Brian May Composer Brian May had previously worked with the Anthony Buckley/Donald Crombie creative team on The Killing of Angel Street. His score for Kitty and the Bagman is a mixed bag of romantic piano, and traditional period jazz of the roaring nineteen twenties kind. He was perhaps more comfortable in the Mad Max/Patrick tradition. That said, the score was released on both LP and tape and continues to be traded in the second hand market - for details, see below. Composer Brian May: Born 28th July 1934, composer Brian May began life in music studying piano, violin and conducting at the Elder Conservatorium in Adelaide. He joined the ABC in 1957, and formed the ABC Adelaide Big Band, and when he was 35, he moved to Melbourne to take charge of the ABC's Show Band there, making his radio debut with the band in 1969. May started to record television underscore, most notably arranging and recording George Dreyfus's score for the ABC goldfields drama Rush. May became interested in composing for feature films, and The True Story of Eskimo Nell was his first score. It also marked the beginning of a collaboration with director Richard Franklin, perhaps most successful in the 1977 thriller Patrick. In turn, this led to other film scores for producer Antony Ginnane, including Snapshot and Harlequin for director Simon Wincer, and perhaps most importantly to the score for Mad Max (though cultists will have a soft spot for Turkey Shoot in 1982). The story goes that producer Bryon Kennedy and director George Miller were convinced there was no one in Australia who could compose the score for their film, but when they were having dinner one evening with Franklin, Miller asked what Bernard Hermann score was playing on Franklin's stereo.