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Bestriding the many visual deceits and narratives to be found in early cinema was the singular figure of Satan, the Devil incarnate. From Goethe's Faust to Dante's graphic renderings of the Inferno, classic art and literature were the well whence sprang the first cinematic depictions of the Devil, his deeds and his dwelling-place. These feverish imaginings led to more elaborate and complex films which vividly explored the terrors of the fallen angel's relentless war against humanity. From Georges Méliès' diabolic trick-film "Le Manoir Du Diable", shot in 1896, to such mysterious silent works as "Witchcraft Through The Ages", "Faust" and "Birth Of The Anti-Christ", and beyond to the burgeoning sound era, SATANIC SHADOWS documents all of the key filmic invocations of Satan, his victims and his worshippers unleashed in the first four decades of commercial cinema. SATANIC SHADOWS shows how narratives of sin, temptation and damnation were central to the roots of cinema's horror and phantasy genres, and how the Devil's dark, horned figure overshadowed all others in the race to astonish and terrify the spectator. With a wide array of more than 100 illuminating production photographs - many assembled from global film archives and seldom, if ever, previously published - this comprehensive illustrated filmography references over 250 films, and also includes a full index of titles.

Japanese sexploitation cinema of the late 1960s and 1970s was dominated by companies such as Toei and Nikkatsu, whose roman porno brand is among the most well-known of all erotic film series. TOKYO CINEROTIX showcases 100 scenes from Japanese sexploitation films of this period, originally issued by Nikkatsu and other companies as 5 X 7 inch promotion stills. The stills are taken from the personal collection of the book's editor, Kagami Jigoku Kobayashi (also curator of the popular Tokyo Cinegraphix series). TOKYO CINEROTIX presents a stimulating snapshot from a time past to commemorate some of world's classic sexploitation cinema, never explicit but crafted with a uniquely Japanese visual flair for the erotic that can never be recaptured.

A major horror and fantasy sub-genre of cinema''s first decades was that dealing with rampaging gorillas - either jungle-wild, circustamed or trained to serve wicked masters - killer apes, and a range of ape-human hybrids, either evolutionary ''missing links'' or creatures spawned by medical experimentation and radical surgeries. Inspirations for this genre came from both fantasy-horror literature and the populist cultural trope of gorillas as abductors and ravishers of human females, a fear which arose from early European expeditions into Africa. This idea found its apex expression in RKO''s King Kong (1932) - with Fay Wray as the blonde snatched away by a giant ape - while its unspoken logical conclusion, a grotesque miscegenation of species, was shown in the infamous Ingagi (1931). Charles Gemora, Ray ''Crash'' Corrigan, Emil Van Horn and Hollywood''s other delinquent gorilla men - seen in feature films, shorts and serials alike - persisted into the 1940s and only began to slow with the m

The music and noise manifestos of the Italian Futurists formed a blueprint for sonic warfare waged against traditionalism, a radical new agenda played out with machines primed for maximal acoustic destruction and aimed at the negation of all existing value systems. THE ART OF NOISE collects together these and other writings for the first time in English, showing how the origins of modern noise music actually date from a century ago, forming an invaluable insight into Futurist thought and its most enduring and relevant legacies, and revealing how an understanding of noise-art is key to a complete comprehension of Futurist painting. THE ART OF NOISE collects five key Futurist manifestos: Luigi Russolo''s The Art Of Noises and The Futurist Noise Machines, and Balilla Pratella''s Manifesto Of Futurist Musicians, Technical Manifesto Of Futurist Music, and Destruction Of Quadrature; plus Carlo Carra''s related sensory manifesto The Painting Of Sounds, Noises And Smells; Bruno Corra''s notes on

Film poster art and design from Japan is renowned as being among the most striking and dynamic in the world, with kanji logograms adding an extra dimension of graphic integration for the Western eye. TOKYO CINEGRAPHIX TWO focuses solely on Japanese cinema, and its infamous ''bad girl'' or ''pinky violence'' blend of sex and crime '' from murdered strippers to female assassins, yakuzamolls, delinquent highschool girls, sword-wielding female gamblers, killer prostitutes, female prisoners, girl gangs and tattooed she-bikers.

Classic Italian film poster art is renowned as being among the most accomplished, creative and dynamic of its kind. From the post-war period through to the 1980s, Italian artists consistently produced posters with sumptuously stunning designs and imagery '' not least in the Western genre, where the invention of the ''Spaghetti Western'' gave abrasive new life to a dying form of cinematic narrative. ULTRA WILD WEST collects more than 80 film poster designs by a wide range of acclaimed Italian artists, in full-color, full-page reproductions showcasing some of the world''s most innovative and eye-blasting graphic artwork, enhanced by rare production photographs which bring the book''s total images to over 100.

Men''s adventure magazines were a form of pulp publishing which flourished in ''50s and ''60s America, pandering to the cruelty and lust of young men with luridly illustrated stories of war, sleaze and savagery. They arose partly in response to the inauguration of the Comics Code in 1954 by presenting material in a new, ''adults-only'' format. Soft Nudes for the Devil''s Butcher is a new anthology which collects prime examples of text and artwork from a range of men''s adventure magazines published during the golden age of the genre. Includes more than 30 features and stories.

The definitive guide to musha-e, or warrior prints.

Muzan-e (cruel pictures'') and Chimidoro-e (''bloody pictures'') together constitute a significant strand of Ukiyo-e, the populist art of late Edo-period Japan. Yoshiiku''s contributions to this series are matched in horror by many other of his prints, ranging from illustrations of misogynistic murder to kabuki scenes of torture and images of warriors harvesting severed heads in battle. These gory pictures were also produced by other artists, including Kunisada, Kuniyoshi, Yoshitoshi, Yoshiyuki, Kunichika and the unsung creators of garish Osaka sex-crime news-sheets.''