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As adults we like to know when the bounds of reality have become blurry; we like to maintain control, and there's an abundant element of control in the movie-going experience. The plot isn't a mystery, nor is the suspension of disbelief as intense as it is in dreams (sensory deprivation is limited to the dimming of the theatre lights, only submerging us so far in the fantasy). The outcome isn't ruled by chance, as it is in role-playing games (or real life, for that matter). But we can still lie to ourselves enough to believe in what's happening onscreen. We still have the ability to escape into the world of movies. Therefore, we can rest assured that adulthood hasn't fully sunk its claws into us yet. By the same token, we can exit if we are unsatisfied with the movie we're watching, or if we have to go to the bathroom. Therefore, we can rest assured that we have control over our delusions. And, sitting in a special room with the lights off, gathered among a group of friends and strangers who are all watching two-dimensional people play make-believe, we can rest assured that we aren't weird. Author Willy Greer delves into the dark psychology of the modern horror film to scare up those terrifying images that still manage to make us afraid of things that go bump in the night.

Written with the blessing of Bates' wife Virginia and his twochildren, Ralph Bates: A Biography delves deep into the actor'slife from childhood and his beginning interest in theater atschool, to his tenure at Hammer Film Productions as one ofits rising stars, to his triumphs in television with lead roles inPoldark and Dear John. This biography features 165 photos,including many never-before-seen family photos. Besides hiswell-known turns as the dark and brooding villain, readerswill also learn about his outside love of cricket and his desireto perform comedy, which came to fruition during his multipletours with the production of Run for Your Wife! In addition toquotes from Bates from various interviews, over 70 originalauthor-acquired contributions from family, friends andcoworkers were gathered to give the most complete look at thelife of a much missed actor, husband, father and friend to many.The author is donating all personal proceeds from sales of thisbook to the Ralph Bates Pancreatic Cancer Research Fund,which was created to honor Bates, who passed away from thedisease in 1991.

To this day the cinematic beauty-and-the-beast imagery of 1933's King Kong remains a vibrant force in the history of Hollywood. However, few film fans know the true story behind the making of King Kong-the heroic war exploits of Kong creators Merian C. Cooper and Ernest B. Schoedsack; the daring desert and jungle explorations which led to successful documentaries such as Grass; the meeting of Schoedsack and his soon-to-be wife, actress Ruth Rose; the dedicated special effects crew and hard working actors... Ruth Rose would go on to pen the screenplay of King Kong, much of which was based on the real life adventures of Cooper, Schoedsack and Rose. The stories behind the film make this ultimate filmic adventure all the sweeter, and make this book a must have for all fans of fantastic cinema

With Universal's release of Dracula on Valentine's Day 1931, the horror film as we know it was born. The following decade saw first a horror boom and then a horror ban. And while fans of classic horror films are well-versed on the productions of major Hollywood studios, they may not be familiar with the numerous horror films produced elsewhere in the world, from North America to Asia. Ghostly cats avenging their mistresses' murders, clay monstrosities brought to life to defend the oppressed, old dark houses stalked by unseen killers: These are just a few of the terrors that will greet you as you enter TOME OF TERROR: HORROR FILMS OF THE 1930s. TOME OF TERROR is a series of books detailing the history of the horror genre, from the mid-1890s to the modern day. Never before has such a series been attempted … or been so comprehensive. The first entry, HORROR FILMS OF THE 1930s, covers more than 350 films, beginning with Alraune in 1930 and concluding with Die unheimlichen Wünsche in 1939. In addition to well-known horror classics from the United States and Great Britain, authors Christopher Workman and Troy Howarth also review films from Germany, France, Japan, and Mexico, among other nations. The series is lavishly illustrated with original stills, lobby cards and poster art.

Serials can be both entertaining and informative. It is exactly those same two goals we hope to achieve with this second volume of Classic Cliffhangers. The goal of the book is to entertain as well as encourage audiences to be entertained by movie serials. Lord knows, that s what they were made for. But this book will also inform about the people on both sides of the camera, as well as the producers who hired them and the world in which all this happened. These are movie serials. It s OK to appreciate their art and laugh at their lunacy. Not all the laughs were intended, but that shouldn t stop us. This isn t grimly serious business. Most of the serials were made for a young Saturday matinee audience, who were much less sophisticated than the savvy film fan of today. There is something wrong if we can t laugh, as well as nod our heads in appreciation, at what these skilled professionals have accomplished, often under very trying conditions and with ridiculously low budgets.

Even today, movie serials continue to enchant movie fans. The innocence, energy and undeniable skill that permeate every reel of these chapter plays is a tribute to the true pioneers of gorilla filmmaking make em fast, make em as good as possible with as little as possible, and make em fun. The best serials are classic examples of early American low-budget filmmaking. The bad ones are silly and stilted, but always charming and sometimes bizarre. At the very least, they offer a window into another time and place. And with the state the world is in today, it s a very welcome place where the good guys always win, the kid saves the day and the hero gets the girl.

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.

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.

Mad About Movies #8 features articles Gordon Scott and Tarzan’s Greatest Adventures by Gary J. Svehla; Dana Andrews: The Consummate Professional by Nick Anez and pages of DVD Reveiws by Gary J. Svehla

The history of the horror film has been the subject of many books, many of them unfortunately picture books. Where more serious efforts have been made, the genre has been explored primarily from a chronological/factual or socio-economic point of view. Studies by sub-genre (vampires, wolf men, etc.) also may be cited. In an effort to begin to fill that gap and to try to explain why such films are generally so poor today, Dr. David Soren has written this book, primarily for the benefit of his film students, who continually lament the absence of any textbook on the subject. It is also essential that future filmmakers and critics realize the tremendous debt that the horror film owes to the history of art. Beginning with the relationship between Georges Melies and his Academic contemporaries such as Bouguereau, Dr. Soren has attempted to point out the influence of Symbolist (artists who seek to express or evoke emotions, ideas, etc. by the use of symbolic language, images, color, etc.), Dada (the style and techniques of artists, writers, etc. of the early 20th-centry who exploited accidental and incongruous effects in their work and programmatically challenged established canons of art, thought, morality, etc.), and Surrealist (a style of art and literature developed principally in the 20th century stressing the subconscious or non-rational significance of imagery arrived at by automation or the exploitation of chance effects, symbolic objects, etc.) art on filmmakers such as Vigo and Cocteau. German Expressionism is also discussed by the Post-Impressionist Edvard Munch is seen as an important creative force in the German theater of Max Reinhardt and in the making of such films as The Cabinet of Dr. Caligari (1919) and Frankenstein (1931). The Rise and Fall of the Horror Film remains a fresh and intriguing ode to fantastic cinema and will ensnare all film fans in it's fascinating web of movie mystique.

50th Anniversary Issue of Midnight Marquee Magazine features the history of the magazine, a look at fandom and of course articles on films but writers including Anthony Ambrogio; Barry Atkinson; Edmund G. Bansak; Mark Clark; Jim Clatterbaugh; Bruce Dettman; Richard Klemensen; Jonathan Malcolm Lampley; Arthur Joseph Lundquist; Greg Mank; Don Mankowski; David Metzler; Stephen Mosley; Neil Pettigrew; Bryan Senn; Brian Smith; Gary J. Svehla; Steven Thornton; Neil Vokes and Artwork by Allen K., Robert Knox, David Ludwig, David Robinson with cover art by Bill Nelson and Dave Ludwig

Welcome to the wonderful world of the independent, cut-price horror, science fiction and fantasy movie. Movies where most of the aliens are, well, for want of a better word, Alien rip-offs; where the leading men and women display all the emotions of cardboard cut-outs; where decent music is more or less non-existent; where direction veers from the truly sublime to the utterly ridiculous; where plots are ruthlessly plagiarized from other, more high-profile productions; where special effects aren't all that special; where the level of gore has to be seen to be believed; where the hero is good-looking but wooden and the heroine a blonde/brunette bimbo; where the dialogue is stilted and shored up with stock phrases; and where the cheapo ethics immortalized by Edward D. Wood, Jr., Jerry Warren and their ilk are still being kept alive and well by courtesy of Nu Image, Asylum, American World Pictures, North American Pictures, RHI Entertainment, UFO, Castel Film Romania, Cinetel Films, PM Entertainment and a host of other small film companies specializing in low-budget fare. But before we all pronounce sentence, start to sneer, utter hoots of derision and sweep this lot under the carpet, let's pause for a second and take stock of these fascinatingly guilty delights alongside top-rate (but still classed as independent) movies.

BROKE, TIRED, STRESSED, WAR, ANGST, APATHY...Oh my God, we're so depressed! So we're here to advise you to forget your troubles and get happy at the movies. We're going to follow our own advice and make some popcorn, gather up our never-depressed dog Buddy (he likes the popcorn), and have a cheer-ourselves-up movie marathon. So read the book, pick the movies and enjoy some Popcorn Prozac. TABLE OF CONTENTS Random Grumpiness on the State of the World and the Movies that Will Cheer Us Up Movies That Make Me HAPPY!! Midnight Marquee's Top Movies to FIGHT THE RECESSION DEPRESSION IT'S A LOVE STORY: OUR FAVORITE ROMANTIC SCENES Movies We must have if we were lost on a desert island!

Mad About Movies, from Midnight Marquee covers classic films of all genres. This volume covers classic film Westerns El Dorado, Rio Bravo, and Two Rode Together, as well as containing 16 pages of DVD reviews

ITALIAN HORRORS covers Italian horror films released between 1979 and 1994. Why those years? Well, primarily for convenience. They mark the release dates of Lucio Fulci's ZOMBIE, the film that instigated the last great wave of Italian horror, and Michele Soavi's DELLAMORTE DELLAMORE, the last great Italian horror film. After the release of Soavi's film, relatively few new Italian horror movies were made; the trend had run its course, and such films were no longer seen as commercially viable. The aim of this work is to guide the unfamiliar viewer to the best films of the period, while hopefully steering him or her away from the dross.

Since their heyday, comics (or fumetti as they are called in Italy) had a vital part in Italy's culture and morality, even helping break boundaries. That was the case with the so-called "fumetti neri," such as DIABOLIK, KRIMINAL, SATANIK, and many others that created a sensation in the early-to-mid-1960s. Similarly, in the late 1960s the adults-only comics paved the way for a more explicit depiction of eroticism. The 1980s saw the commercial exploitation of underground comics as well as popular genre titles such as DYLAN DOG. DIABOLIKA lists the Italian films and TV series based on (or inspired by) comics, graphic novels and photonovels, as well as movies not directly adapted from comic books sport a distinct comics feel in style, characters and plot. Included are the 1960s adaptations of the lurid "fumetti neri" such as DANGER: DIABOLIK, the two KRIMINAL movies, AVENGER X and SATANIK. And we couldn't forget the comic-inspired superheroes SUPERARGO, FLASHMAN, THE THREE FANTASTIC SUPERMEN as well as films based on erotic and adults-only comics including MS. STILETTO. DIABOLIKA also provides listings for adaptations of popular comic characters such as VALENTINA, TEX and DYLAN DOG and many, many more. Also included is an essay on Turkish films inspired by Italian comics written by Turkish film scholar Kaya Özkaracalar. The book is lavishly illustrated in color with many rare set stills, lobby cards, poster art and comic book panels.

Torchy Blane: model for Superman's Lois Lane. Five-foot-three firecracker. Smart, adventurous blonde. Gimme girl. Wry eyes, pouty kisser. Wicked wisecracks. Sly double take. Fast-talking, no-nonsense, straight-shooting, stand-up, hardboiled dame. Anyone for Glenda Farrell? In addition to her film roles, many of which were brilliant comedic performances, Glenda also had an extensive resume on Broadway, as well as numerous television guest-starring appearances. Whether playing a gangster's moll, a hash-slinging waitress, or a fast-talking reporter, Glenda Farrell charmed her way into the hearts of America in the 1930s and 1940s and became a friendly well-known face on the new medium of television, winning an Emmy for an episode of Ben Casey, "A Cardinal Act of Mercy." Finally, a book on Hollywood's Hardboiled Dame, who was more of an all-around good egg and never hardboiled.

Since Bela Lugosi was the very first book published by Midnight Marquee Press, Inc. in 1995, and had been sold out for several years, we felt it was time to revise our best-selling title. We decided to inaugurate the Midnight Marquee Actors Series with horror film icon Bela Lugosi. The first reason was the fact that Lugosi is one of our favorite legends of the Golden Age of Horror Films. And the second reason is that the 1990s appeared to be the decade of his rebirth and rediscovery. With the release of pristine copies of Universal horror classics in attractively packaged, low-priced DVDs, the continued interest in cult writer/director Edward D. Wood, Jr. and the artistic triumph of Tim Burton s Ed Wood, which features Bela Lugosi (distorted history noted), a new generation of film fan was being introduced to the legendary bogeyman. As our writers attest, Lugosi was a very gifted actor, who appeared in only a handful of well-produced, quality vehicles, but whose reputation has mushroomed far beyond the movies in which he sometimes had to appear. But even the worst Lugosi film is better than most of the dreck passing for horror films today. What better star with which to start our Midnight Marquee Actors Series? And what better star to deserve a new revised and updated edition?

Brett Halsey s film career is comprised of an amazing body of work: big-budget Hollywood A pictures like All I Desire; cult JD movies that include Hot Rod Rumble and High School Hellcats; classic horror/sci-fi flicks Return of the Fly and The Atomic Submarine; numerous Spaghetti Western titles including Kill Johnny Ringo and Today We Kill...Tomorrow We Die; a series of Eurospy thrillers, notably Espionage in Lisbon and Spy in Your Eye; films with Dario Argento and Lucio Fulci; an impressive resume of television appearances including the series Follow the Sun and the soap opera General Hospital. He has also authored several novels and screenplays and stepped behind the camera to take on directing and producing. But it will be his film roles that will define this consumate working actor. In his best roles, Halsey transcends the mechanics of screen acting focus on character, concentration on serving the script, good interpretation of dialogue, clear delivery, lithe physical movement, mobility of facial expression principally because the screen is Halsey s natural home.

There has never been a filmmaker like Paul Naschy. Naschy's involvement in cinema spans 40 years and counting, with work as an actor, screenwriter, director and producer. He has molded his own vision under these assignments and provided an unheard of spectrum of clues to his personality, passions and ethos. If we just speak of the horror genre, Paul Naschy is a distinctive talent. Perhaps one shouldn't step on the carefully protected toes of the familiar horror "kings" of the past and present, but Naschy is their equal, and in terms of involvement in the genre-as a screenwriter, director and producer-he outdistances every one of them. This is not a man who simply sits by the phone waiting for an agent to call. This autobiography is Naschy's manifesto of will and dedication. It is also a great read, filled with engaging anecdotes, earthy asides, written with ease and intelligence, brimming with soul and a heart sometimes suffering, all the time passionate.

Like Scott, Murphy, McCrea and Montgomery, the subjects ofvolume one, the four actors showcased in this second volume, RoryCalhoun, Rod Cameron, Sterling Hayden and Richard Widmark,were all perfectly capable of playing their tough roles with ease becauseof their hard, uncompromising upbringing (especially truein Calhoun's case). ey were also naturals in the saddle, born toride, even Hayden, their combined output in the eld an enduringreminder of how, many, many years ago, the Western movie reignedsupreme over all others. So let's hit four divergent trails out Westwith four contrasting meaner-than-hell hombres and see how theycoped, in true Western tradition, with bad guys (when they weren'tbeing bad guys themselves), Indians on the warpath, sexy saloondames, trigger-happy gunmen, cavalry detachments, double-crossingpartners, devious land-grabbers, crooked logging-grabbers, corruptlawmen, ladies (and tomboys) in peril, dishonest town o cials,the construction of railroads on schedule across hostile terrain, thefelling of timber and, in two instances, the legendary battle of theAlamo, all lmed in and around America's breathtaking untamed,rocky native scenery. You won't be bored for a single second!

The rocketship crashes into the Earth, killing everyone inside.The father has earned the respect of his son only because he has killedsomeone.The woman lies in bed, her life ruined irreparably as the cop walksaway from her.The young girl stares at a toy boat, unaware of the numerous deathsshe has caused.The man with the badge rides away, leaving a trail of lifeless bodiesin his wake.These are all unforgettable endings to great movies that have eitherbeen neglected or forgotten. Despite the high merits of these movies,they never received the large audiences they deserved. But it may not betoo late for belated recognition.In this third volume of Celluloid Adventures, the spotlight is onceagain on movies that are unjustifi ably underrated or undeservedly unknown.The movies cover a span of three decades, from 1942 to 1971. Asin Volume 2, these movies represent a variety of genres. They include aWestern that is also a suspense movie, an adventure fi lm that is also afantasy and a science fi ction story that is also a tragedy. There is a movieabout children that is not for children, a crime movie that is a social dramaand a Western that is both traditional and radical. There is also a fi lmnoir that is a morality play, a thriller that is horrifyingly prophetic and apolice story about an offi cer who uses his badge to kill. There is a comedyand a war movie but the comedy has dark overtones and the war movieis anti-military.

During the 1970s Claudia Jennings was one ofPlayboy's top models, as well as the undisputedQueen of Cult cinema. This is the complete story ofher life, authorized by her family. The book coversher childhood, early days as a teen cheerleader, herfi lm career, and sadly, her tragic death at the age of29. Claudia Jennings was not just a one dimensional"party girl." Through dozens of interviews withfamily, friends and colleagues in the entertainmentbusiness, a portrait emerges of a kind, sweet,complex and nurturing woman who loved children andhelping others. The book explores her relationshipwith Hugh Hefner, her extraordinary movie careerand the peaks and valleys of her personal life. All herfi lms are reviewed and include behind the camerastories from cast and crew, who were on the set atthe time. With a forward written by the legendaryRoger Corman and featuring many rare photographs,the book is a must-have for fans of Claudia, cultmovies and cinematic history.

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. Vol. 2 features sci-fi, horror mysteries and fantasy, including Just Imagine, Svengali, Chandu, The Most Dangerous Game, Old Dark House, Mark of the Vampire, Mad Love, The Gorilla, On Borrowed Time, The Wizard of Oz and many more.

Midnight Marquee now in it's 55th year offers issue number 80. Includes Seddok, Son of Satan: Atom Age Horror by Barry Atkinson Thriller's Classic Horror Episodes-Season 2 by Gary J. Svehla The Mummy's Shroud: Hammer's Dusty Secret by Nicholas Anez The Fearsome Foursome: Under-Appreciated Horror of the 1970s and 1980s by Ernie Magnotta A History of Planet Film Productions by Christopher Gullo A Cinematic Primer to Jess Franco by Troy Howarth The Medusa Touch: "I Have a Gift for Disaster" by Nicholas Anez "You Have 45 Seconds to Leave the Theater!" William Castle's Homicidal by Barry Atkinson Midnight Marquee-Book Review Midnight Marquee-DVD/Blu-Ray Review

Attack of the B Queens is a celebration of women in horror films. Editor Jon Keeyes begins the journey with an examination of the Birth of the B Film from the silent era through the 1950s. The trail is continued by scream queen Linnea Quigley who looks at Hammer Films, Brinke Stevens who discusses The Art of Screaming: the 1980s, Debbie Rochon continues with Sequels A Go-Go and the adventure continues with chapters on Corman Heroines, Glam Babes from Outer Space, Into the Post Modern Era and Queen Bitches of the Universe. Short interviews with B Queens such as Mamie Van Doren, Stella Stevens, Tura Satana, Barbara Leigh, Gail Harris, Ginger Lynn Allen, Jackie Lovell, Kathy Kurtz, Leslie Culton, Patricia Tallman, Sasha Graham and Tina Krause are also included.

For an attorney who doesn't handle murder cases, Tracy Brubaker can't seem to catch a break. No sooner has she successfully defended a family friend when a retired law school professor reaches out for her assistance. His former client Colin Richmond has been accused of killing a man he recently met. The motive? Richmond may have thought this man was the reincarnation of his late father-the father whose murder Richmond was tried for but acquitted of almost 30 years ago-back for revenge. The evidence seems concrete, but Tracy thinks there's more to this murder than preemptive self-defense. Her subsequent investigation reveals another possible crime in Richmond's past, a detective who may have buried exculpatory evidence, and a victim who may have set himself up for his own murder. Complicating matters is former beau and client Brian Shane, who wants to rekindle the relationship that ended more than 10 years ago. Now, Tracy must juggle her professional and personal lives in the hopes of clearing her client, while hopefully reuniting with the man she still loves, or thinks she does. It's another tricky case full of twists and turns as Tracy tries to find the truth, this time not only for her client but for herself as well.

Dr. David Soren examines Art, Popular Culture and the Classical Ideal in the 1930s in this beautifully illustrated book. The book takes an in-depth look at Roman Scandals and Christopher Strong and, as an added bonus Dr. Soren received permission to publish the unfinished autobiography of pioneering female filmmaker Dorothy Arzner. The 1930s were a time of contrasts. At a time when Americans had less money than at any time in their history, most movies revealed the obsession of the American people with elegance, wealth and beautiful people, so that an alien from Mars seeing most of these films would imagine that the society that had made them was entirely wealthy and not in the depths of the Depression. The 1930s was also an era of innovation in technology and design, when form began to follow function and everything streamlined, curvy and blonde was "in." Anyone unfamiliar with the 1930s can nonetheless instantly Recognize that the hairstyles, costumes and sets have a particular look to them. The 1930s were tragic, elegant, fascinating and fun. Enjoy discovering them a posteriori through the magic of the movies and the crutch of this book.