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The giallo-an Italian brand of thriller known for its stylish and lurid excesses-got its start in the cinema with the release of Mario Bava's THE GIRL WHO KNEW TOO MUCH in 1963. Other filmmakers explored the possibilities of such material throughout the 1960s, but it took the release of Dario Argento's impressive debut THE BIRD WITH THE CRYSTAL PLUMAGE in 1970 to ensure the giallo a place alongside the Spaghetti Western and the poliziottesco (violent police thrillers) in the public consciousness. All good things must come to an end, however, and the glut of imitations throughout the early 1970s gradually wore down public interest in the genre. Even so, it stubbornly clung to life and mutated throughout the 1970s even as American filmmakers like John Carpenter and Sean S. Cunningham took inspiration from it to create the slasher film. SO DEADLY, SO PERVERSE: 50 YEARS OF ITALIAN GIALLO FILMS VOLUME TWO offers a look at the gradual decline of the giallo from 1974 until 2013. The decline of the Italian film industry in the 1980s hit every genre hard and the giallo is no exception. Despite the best efforts of directors like Argento to keep it alive and vibrant, the giallo simply never managed to rebound after a late period of stylistic and gory excess typified by offerings like Argento's TENEBRAE and Lucio Fulci's THE NEW YORK RIPPER in 1982. Author Troy Howarth explores the genre's decline and picks out some late period entries worthy of more serious praise and consideration. Volume two also offers an overview of the giallo and its place in the Italian film scene by Italian writer and filmmaker Luigi Cozzi, of CONTAMINATION fame. Like volume one, this edition is also lavishly illustrated with colorful still, posters and advertising art.

In the late 1950s, Mario Bava helped to create and define the Italian horror film. His classic directorial works of the 1960s and 1970s, including Black Sunday, Kill, Baby … Kill! and Lisa and the Devil, remain among the most colorful and imaginative in the history of the genre. Bava’s films are rife with unforgettable images—Barbara Steele’s uncanny beauty being brutally violated in Black Sunday, Christopher Lee returning from the grave marked by his bloody demise in The Whip and the Body, the angelic-looking ghost child of Kill, Baby … Kill!, the brutal murder scenes of Blood and Black Lace and Twitch of the Death Nerve—but they are also thematically rich and inter-connected. For many critics, Bava was a gifted stylist but few have bothered to look beneath the surface to uncover the deeper significance of his work. The Haunted World of Mario Bava was first published in 2002. It has now been updated, revised and expanded by author Troy Howarth to give a better overview of Bava’s remarkable legacy as a director and “cinema magician.” This new edition contains new contributions from Bava’s son, director Lamberto Bava, and genre icon Barbara Steele. The book examines all of Bava’s directorial works in detail while also providing a portrait of the man himself—a man for whom publicity and self-promotion was always shied away from, even as he continued to work himself to the point of exhaustion as he improvised and pushed himself to deliver films which would go on to influence such major filmmakers as William Friedkin, Martin Scorsese, Quentin Tarantino, Tim Burton and Joe Dante. Author Troy Howarth “discovered” Bava’s work as a child on late night TV and has worked hard to help bring more serious attention to his films. In addition to holding down a full-time job in the field of social work, he is also a contributor to We Belong Dead magazine and writes reviews for such websites as AV Maniacs and Eccentric Cinema.

Primarily, this book is a thank you to horror hosts in general, particularly the Baltimore-area hosts-The Great Zucchini, Dr. Lucifer, Ghost Host, Sir Graves Ghastly and Count Gore De Vol-for the immeasurable pleasure they gave their young and young-at-heart viewers throughout the years they served. For many people, their first exposure to horror films was through these hosts, and this in turn began a love affair with the genre. In fact, these friendly fiends created little movie monsters with insatiable appetites, not nearly satisfied by a once-a-week-fix. Thus, this book does not just include filmographies of local hosts, but also chapters on local television airings that would have been of interest to the budding horror fan. Some stations had dedicated "Chiller Theaters" that specialized in horrific programming, even if there was no host. Other horrors frequently popped up on the more inclusive "Late Late Show." This type of programming would not last much past the 1980s, when the combination of the cable television explosion and the home video revolution sent networks scrambling to reconfigure their schedules. Author John Carter Stell worked over 10 years gathering the films, dates and times to remind those little monster kids of the joys of their youth. Waiting for a new (to them) monster, mad scientist or alien to scare the bejeezus out of them. Includes mini bios of the horror hosts and complete listings of the films shown. Guaranteed to bring a smile and happy memories to those little horror fiends that still reside in all of us.

The giallo-a specifically Italian brand of lurid thriller-emerged in the 1960s and became a commercial force to be reckoned with throughout the 1970s. While not all of these films achieved the success and notoriety as the most popular efforts by the likes of Mario Bava, Dario Argento or Lucio Fulci, they nevertheless proved to be immensely popular-with latter-day entries emerging well into the 21st century. They also proved to be influential on films from across the globe; for instance, they helped to set the stage for the slasher movie boom of the late 70s and early 80s, and they would go on to inspire contemporary filmmakers looking to pay homage to their baroque excesses. So Deadly, So Perverse: Volume 3 shines a light on some of these films, some of which are well-known for capturing the off-kilter vibe of these beloved cult classics, and some of which display an influence in more surprising ways. Covering titles produced everywhere from America and Great Britain to Turkey and Japan, this final volume in the So Deadly, So Perverse trilogy offers a final summation of the genre and its lasting cult popularity and appeal. In addition to in-depth coverage of an eclectic range of titles, there are also a number of deliciously sensational and exploitative images, many in full color.The giallo-a specifically Italian brand of lurid thriller-emerged in the 1960s and became a commercial force to be reckoned with throughout the 1970s. While not all of these films achieved the success and notoriety as the most popular efforts by the likes of Mario Bava, Dario Argento or Lucio Fulci, they nevertheless proved to be immensely popular-with latter-day entries emerging well into the 21st century. They also proved to be influential on films from across the globe; for instance, they helped to set the stage for the slasher movie boom of the late 70s and early 80s, and they would go on to inspire contemporary filmmakers looking to pay homage to their baroque excesses. So Deadly, So Perverse: Volume 3 shines a light on some of these films, some of which are well-known for capturing the off-kilter vibe of these beloved cult classics, and some of which display an influence in more surprising ways. Covering titles produced everywhere from America and Great Britain to Turkey and Japan, this final volume in the So Deadly, So Perverse trilogy offers a final summation of the genre and its lasting cult popularity and appeal. In addition to in-depth coverage of an eclectic range of titles, there are also a number of deliciously sensational and exploitative images, many in full color.

Classical archaeology was long equated to ancient art history. Today these fields find themselves at a major crossroads. The influence on them-from the discipline of anthropology-has increased substantially in the past 15 years, adding to the ways in which scholars can study the Roman past. The classical archaeologist of the 21st century is likely to be versed in Greek and Latin, computer technology, ancient history, great monuments, various hard sciences such as physics or even astronomy, GPS, GIS, surveying, mapping, digitizing, artistic rendering, numismatics, geo-science, astronomy, environmental studies, material culture analysis and/or a host of other disciplines and sub-disciplines.Universities are seeking specialists whose talents embrace not one but several different fields of research. It is not necessary for each scholar to know everything about each discipline being used within the fields of art history, classical archaeology and anthropology, but these days a basic knowledge of all relevant disciplines is becoming indispensable. This book will layout the basic information and steps necessary to take the beginning archaeologist's search for knowledge of the past and lead them to adventures of the future. here have been numerous textbooks about the art history and monuments of ancient Rome. With this new work, the authors have attempted to create something slightly different. Students of the subject will still be able to gain the essential basic knowledge of the most important works of art and architecture that have been the focus of university art history courses for more than a century and remain the essential starting point for gaining a window into Roman Antiquity. In addition to this, however, anthropology, classical studies, social history and computer graphics have been used throughout this text in order to help the beginning student understand the daily life of the ancient Romans. The authors have sought to emphasize not only the greatest works of ancient art but have also included utilitarian objects which were more typical of the Roman life experience. It is hoped that this holistic approach can afford an appreciation not only of that estimated one-sixth that formed the Roman elite but also the remaining five-sixths who formed the majority of the Roman people. New technologies are being developed each year allowing increased possibilities for understanding the past. These range from innovations in museology as exemplified by the ruin within a museum approach of Rome's Capitoline Museums to the virtualreality 3D walk-throughs that allow the general public to experience the past first-hand by passing through museums or even reconstructed ancient buildings and sites. If a picture is worth a thousand words, the 21st century is showing that there is a growing desire to offer detailed and intimate snapshots that allow the past to resonate and reveal itself in ways not thought possible a generation ago. In this textbook the authors present more than 400 images, including over 100 new plans and specially commissioned reconstructions.

Every fan of the Universal Horror films of the 1930s knows that James Whale directed four of the best of those films: Frankenstein (1931), The Old Dark House (1932), The Invisible Man (1933), and Bride of Frankenstein (1935). But do they know he served as a Second Lieutenant in the British Army on the Western Front in the First World War, going to France in July 1916 and serving in the trenches? Do they know the details of his service? Do they know he was captured by the Germans in August 1917 and spent some 16 months in a German P.O.W. camp? Do they know he participated with the prisoners' theatrical troupe while in the camp, and this led to his career on the stage? Do they know the details of how his first big break as a theater director came when he helmed Journey's End, first in London and then on Broadway, a war play written by R.C. Sherriff, who had also served as a British officer on the Western Front? The details of how his first break as a credited film director came with the movie version of Journey's End? That The Old Dark House is based upon Benighted, a novel by J.B. Priestley, who also served in the British Army on the Western Front, and that Great War themes figure prominently in both the novel and the film? Do they know about the influences of Great War themes in James Whale's films? In The Great War and the Golden Age of Hollywood Horror, the reader will explore all these things, in detail, and will also read about other participants in the Universal Horrors who were involved in the War, and how the War influenced other aspects of those Universal films as well-down to the village sets used in nearly every Universal horror movie from Frankenstein through the 1940s. Little, if any, in-depth coverage of these topics exists. This book will take the reader over new ground, while revisiting old subjects with a new twist. The decade of the 1930s is generally regarded as the "Golden Age" of the American horror film, with Universal as the studio which set the trend. Indeed, the term "horror film" arose when, following the success of Dracula (1930),1 Universal declared its intention to make "another horror film."2 That "other" horror film was, of course, Frankenstein (1931). The decade would see a string of horror films from Universal, including Murders in the Rue Morgue (1931), The Old Dark House (1932), The Mummy (1932), The Invisible Man (1933), The Black Cat (1934), Bride of Frankenstein (1935), Werewolf of London (1935), The Raven (1935), The Invisible Ray (1935), Dracula's Daughter (1936), and Son of Frankenstein (1938). James Whale directed four of these films: Frankenstein, The Old Dark House, The Invisible Man, and Bride of Frankenstein, which are generally regarded by critics and fans alike as among the very best of these Golden Age Horrors. Whale, and other creative talents involved in these films, served with the British Army on the Western Front and saw combat in the First World War. The War influenced other Universal Horrors, as well. This book will detail the War experiences of these individuals, and explore how those experiences, as well as the War itself, helped to shape Universal's Golden Age Horrors. In coming up with this idea,

Midnight Marquee Press, Inc. is pleased to introduce this volume that begins the "second phase" of Midnight Marquee Press’ acclaimed Actors Series. Having shone the spotlight on those titans of Golden and Silver Age horror (all American by birth or naturalization)—Lugosi, Karloff, Chaney, Jr., Price, and Lorre—Midnight Marquee now ventures into the Iron Age of Hammer (and British horror) with a collection examining the work of Peter Cushing. Cushing has been the subject of other books (and his own autobiographies, reprinted in one volume by Midnight Marquee Press, 1999), so one might question the need for yet another work. The answer, I think, lies in the essays that make up this volume, which put the emphasis squarely on the performer himself (as befits an Actors Series). Not only do Midnight Marquee’s stable of reliables and newcomers analyze 56 of Cushing’s performances in depth, but the annotated filmography offers capsule comments about most of his other roles. Anyone interested in the enormous contributions to horror film and film in general by the "Gentle Man of Horror"—arguably the most accomplished actor ever to become a horror star—will find a great deal of insight and intelligence within these pages.

You will find the answers to many questions and more as you read about the stage and film careers and lives of Dennis Price, George Coulouris and Andre Morell. What do Dennis Price, George Coulouris and Andre Morell have in common? They all essayed very different but quite remarkable screen villains.

Lee Gambin examines the extremely popular subgenre of the ecologically themed horror film, or, the natural horror film. Since Alfred Hitchcock gave us The Birds, the natural horror film (where animals or insects cause tremendous damage to the human population) is a much-loved subgenre, but one seldom referenced. This book offers insightful critiques on numerous films such as Them!, Squirm, Orca, The Pack, The Day of the Animals, Prophecy, Tentacles and many more. Over 100 titles are discussed and Gambin thoroughly scrutinizes the social and political impact of these films, dissects fundamental stock standards of this subgenre, as well as offers informative anecdotes relating to the production of these diverse movies. He critiques specific narrative devices and offers an analysis of performance, audience appreciation and filmmaking craft.

The Shrieking Sixties sets out to document and comment upon the British horror boom of the 1960s. Edited by Darrell Buxton (U.K. horror expert and critic whose work has appeared in publications including Samhain, Creeping Flesh and Giallo Page) and written by a variety of contributors, including Mike Hodges (Fangoria), Steven West (Is It...Uncut?) and Christopher Wood (British Horror Films website), the book features informative and lively reviews of 150 creepy, macabre and downright scary movies. Additional appendices cover the short films of the era, borderline titles and a study of how the censors handled an onslaught of on-screen shudders. From Hammer's Brides of Dracula and Plague of the Zombies, to cult classics like Witchfinder General and Scream and Scream Again, The Shrieking Sixties runs the gruesome gamut. Of particular note is the book's coverage of Lindsay Shonteff's 1969 shocker Night, After Night, After Night, revealing daring new information about this ahead-of-its-time proto-slasher, and the rarely seen and even more rarely discussed The Return of Dracula, a specialist vampire movie presented in British Sign Language. In the tradition of recent successful publications such as English Gothic, Fragments of Fear and Ten Years of Terror, The Shrieking Sixties seems set to become a vital, essential addition to any fright film fan's library

The FANEX film convention was held in Baltimore for 19 years. During that time many stars and filmmakers of Hollywood's Gold and Silver ages shared their memories with the devoted fans attending the show. Midnight Marquee is pleased to present their interviews, as well as the panel discussions, in which they participated. The talks are unedited and uncut. While we can't provide readers with the actual FANEX experience, this book will offer Hammer fans the fascinating insights and humorous stories as told by the people who actually helped make Hammer Films so special. It was a pleasure to spend some quality time with real ladies and gentlemen of the movies.

An argument could be made on which of the two is stranger and more exciting, mysterious, terrifying and eclectic-the reel adventures of movie star Ingrid Pitt or the real life adventures of daughter, wife, mother and new grandmother Ingrid Pitt. Ingrid Pitt: Darkness Before Dawn will help you find an answer to that argument as you follow the life story of the amazing Ingrid-from the terror-filled years in a Concentration Camp, hardships after the war, breaking into acting, becoming a wife and mother, world-wide adventures, making movies, writing and theatre. This memoir of a life filled with terror and tears and ultimately joy and laughter will paint a picture of Ingrid Pitt you will not soon forget.

The 3rd book in the critically acclaimed Forgotten Horrors series covers forgotten films from 1943 through 1946 and includes an extensive annotations, marginalia and addenda to prior volumes. Films such as Haunted Ranch, The Ape Man, Ghosts on the Loose, Women in Bondage, the Charlie Chan films, Fog Island, The Tiger Woman, etc. are covered as well as many other poverty row and low-budget films of the 1940s. This book is a must have for all fans of classic (and not-so-classic) genre cinema.

By laying down a dime or 15 cents at the box office, a gawky, socially awkward kid could live for a few hours in a dream world of jitterbugs and bobbysoxers, running right alongside Poverty Row stars bravely entering forbidding haunted houses and creepy cemeteries. And that is what most of the pictures in this volume are: little dreams, made all the more dreamlike by their obscurity. The pictures are not big-studio productions full of high-wattage star power, but quirky titles from little studios. Forgotten Horrors 4 remains focused on the tawdry (but no less magical) Hollywood backstreet known as Poverty Row. From their Poverty Row vantage, actors gazed out at the Golden City just beyond their grasp and, between shots on cheap sets in quickie productions for directors far beneath the station of DeMille, imagined life as Gregory Peck or Loretta Young. Seen today, these small-studio pictures carry a quirky, almost heartwarming nobility. They know what they are, and the people involved allowing for factors ranging from disillusionment to cynicism to John Barleycorn seem to be doing the best they can. They know it s not MGM or Paramount. But anyway, they are working. Without the bankable stars that all America knew, the people who made these films had to have Something Else going for them. And that Something Else was almost always an exploitable angle, something the theater owners could sell in lieu of marquee names. In the pictures examined between these covers, that Something Else was a horrific or bizarre element of one sort or another, ranging from simple murder to terrors far more fiendish. In the Westerns and the comedies, the horror element often came as a lagniappe, giving an extra thrill to the folks who probably would have shown up anyway. And rather than fading into obscurity, these little gems still manage to entertain us almost 60 years after their debuts.

Welcome to the Forgotten Horrors cinematic world of weird mysteries and patent oddities, if not outright chillers, from low-rent, independent, North American filmmaking companies. Hold on to your hats as we cover gems such as: The Lion Man; Thunderbolt; The Leavenworth Case; Prison Shadows; Kliou (The Tiger); Robinson Crusoe of Clipper Island; African Holiday; Blake of Scotland Yard; Larceny on the Air; The Devil Diamond; Hit the Saddle; The Girl from Scotland Yard; It Happened Out West; Killers of the Sea; Angkor, or Forbidden Adventure; Dr. Jekyll & Mr. Hyde; The 13th Man; Rod La Rocque's "Shadow"; Shadows of the Orient; Outlaws of the Orient; S O S Coast Guard; Sky Racket; Special Agent K-7; Safari on Wheels; Love Life of a Gorilla; Telephone Operator; Orphan of the Pecos; Wolves of the Sea; The Black Doll; Hollywood Stadium Mystery; Forbidden Adventure; Fury Below; The Adventures of Chico; Zamboanga; Life Returns; Durango Valley Raiders; It Happened in Chicago; The Night Hawk; The Karloff "Mr. Wong" Pictures; Shadows over Shanghai; Titans of the Deep; Mystery Plane; The Mystic Circle Murders; S.O.S.-Tidal Wave; Death Goes North; Daughter of the Tong; Adventures of the Masked Phantom; Torture Ship; Hitler-Beast of Berlin; The Devil's Daughter; The Invisible Killer; Son of Ingagi; Phantom Rancher; Drums of Fu Manchu; Sky Bandits; On the Spot; The Leopard Men of Africa; Haunted House; Billy the Kid Outlawed; The Ranger and the Lady; The Ape; Midnight Shadow; Phantom of Chinatown; The Devil Bat; The Blood of Jesus; The Lone Rider Rides On; You're Out of Luck; The Great Train Robbery; The Forgotten Village; Mr. District Attorney; City of Missing Girls; Adventures of Captain Marvel; Federal Fugitives; Bride of Buddha; Invisible Ghost; King of the Zombies; The Shark Woman; The Gang's All Here; Murder by Invitation; Criminals Within; Up Jumped the Devil; Saddle Mountain Roundup; Mercy Island; Jungle Man; Spooks Run Wild; The Devil Pays Off; I Killed That Man; Four Shall Die; Mr. District Attorney in the Carter Case; Private Snuffy Smith; Law of the Jungle; Lucky Ghost; Professor Creeps; Black Dragons; The Man with Two Lives; Spy Smasher; House of Errors; The Panther's Claw; Home in Wyomin'; The Corpse Vanishes; The Mad Monster; Jungle Siren; Tomorrow We Live; Phantom Killer; The Devil with Hitler; Criminal Investigator; Bowery at Midnight; Outlaws of Boulder Pass; Hitler-Dead or Alive; Valley of Hunted Men; The Living Ghost; Secrets of the Underground

He immortalized Henry Frankenstein in Hollywood's Frankenstein and Bride of Frankenstein, but his too-brief life was often a horror saga as well. "One Man Crazy!" The Life and Death of Colin Clive is the first full biography of this brilliant, hypersensitive actor. Adventurously-researched, sympathetic yet unsparingly revealing, and featuring over 200 illustrations, this book illuminates Clive's genius - and the private demons that agonized the man who, as Monster-Making scientist Frankenstein, unforgettably cried, "It's alive!" Gregory William Mank is the author of such books as It's Alive! The Classic Cinema Saga of Frankenstein; Bela Lugosi and Boris Karloff: The Expanded Story of a Haunting Collaboration; Hollywood's Maddest Doctors; and Laird Cregar: A Hollywood Tragedy.

Classic horror movie fans are familiar with the classic movie posters and images from the 1930s Golden Age of Horror, but this fascinating book of graphics includes articles, images and rare photos that will be appreciated and enjoyed by any movie fan.

Lionel Atwill: The Exquisite Villain contains a vast amount of new information which was discovered by author Neil Pettigrew on the controversial Golden Age of Hollywood star Lionel Atwill. Atwill starred in many classic films including Captain Blood, To B or Not to Be, Mystery of the Wax Museum, Murder in the Zoo, Mark of the Vampire and many, many more. The biography also contains many never before seen photographs and was written with the participation of Lionel Atwill's relatives, including a Foreword by Atwill's son, Lionel A. Atwill.