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Italian Gothic horror films of the 1970s were influenced by the violent giallo movies and adults-only comics of the era, resulting in a graphic approach to the genre. Stories often featured over-the-top violence and nudity and pushed the limits of what could be shown on the screen. The decade marked the return of specialist directors like Mario Bava, Riccardo Freda and Antonio Margheriti, and the emergence of new talents such as Pupi Avati (The House with the Laughing Windows) and Francesco Barilli (The Perfume of the Lady in Black). The author examines the Italian Gothic horror of the period, providing previously unpublished details and production data taken from official papers, original scripts and interviews with filmmakers, scriptwriters and actors. Entries include complete cast and crew lists, plot summaries, production history and analysis. An appendix covers Italian made-for-TV films and mini-series.

Leagues of Gothic Horror is the definitive guide to the Gothic Horror genre for Leagues of Adventure and the Ubiquity system. This supplement includes information on all the important aspects of the genre terrifying monsters, sanity-shattering tomes, occult relics, and places of nightmare. In short, Leagues of Gothic Horror provides the Game Master with everything needed to run spine-tingling tales. Contents of the book include a detailed bestiary, a complete magic system, new rules for player characters, weird science gadgets, guidelines for running horror adventures, and information on some of the most sinister villains of all time! Related Products: Leagues of Gothic Horror is compatible with other Ubiquity games.

The "Gothic" style was a key trend in Italian cinema of the 1950s and 1960s because of its peculiar, often strikingly original approach to the horror genre. These films portrayed Gothic staples in a stylish and idiosyncratic way, and took a daring approach to the supernatural and to eroticism, with the presence of menacing yet seductive female witches, vampires and ghosts. Thanks to such filmmakers as Mario Bava (Black Sunday), Riccardo Freda (The Horrible Dr. Hichcock), and Antonio Margheriti (Castle of Blood), as well the iconic presence of actress Barbara Steele, Italian Gothic horror went overseas and reached cult status. The book examines the Italian Gothic horror of the period, with an abundance of previously unpublished production information drawn from official papers and original scripts. Entries include a complete cast and crew list, home video releases, plot summary and the author's analysis. Excerpts from interviews with filmmakers, scriptwriters and actors are included. The foreword is by film director and scriptwriter Ernesto Gastaldi.

The Italian Gothic horror genre underwent many changes in the 1980s, with masters such as Mario Bava and Riccardo Freda dying or retiring and young filmmakers such as Lamberto Bava (Macabro, Demons) and Michele Soavi (The Church) surfacing. Horror films proved commercially successful in the first half of the decade thanks to Dario Argento (both as director and producer) and Lucio Fulci, but the rise of made-for-TV products has resulted in the gradual disappearance of genre products from the big screen. This book examines all the Italian Gothic films of the 1980s. It includes previously unpublished trivia and production data taken from official archive papers, original scripts and interviews with filmmakers, actors and scriptwriters. The entries include a complete cast and crew list, plot summary, production history and analysis. Two appendices list direct-to-video releases and made-for-TV films.

Leagues of Gothic Horror is the definitive guide to the Gothic Horror genre for Leagues of Adventure and the Ubiquity system. This supplement includes information on all the important aspects of the genre terrifying monsters, sanity-shattering tomes, occult relics, and places of nightmare. In short, Leagues of Gothic Horror provides the Game Master with everything needed to run spine-tingling tales. Contents of the book include a detailed bestiary, a complete magic system, new rules for player characters, weird science gadgets, guidelines for running horror adventures, and information on some of the most sinister villains of all time! Related Products: Leagues of Gothic Horror is compatible with other Ubiquity games.

Gothic cinema, typified by the films of Universal, Hammer, Amicus and Tigon, grew out of an aesthetic that stretches back to the 18th century and beyond, even to Shakespeare. This book explores the origin of Gothic cinema in art and literature, tracing its connection to the Gothic revival in architecture, the Gothic novel, landscape, ruins, Egyptology, occultism, sexuality, the mythology of werewolves, the philosophy of Hegel, and many other aspects of the Romantic and Symbolist movements.

The "Gothic" style was a key trend in Italian cinema of the 1950s and 1960s because of its peculiar, often strikingly original approach to the horror genre. These films portrayed Gothic staples in a stylish and idiosyncratic way, and took a daring approach to the supernatural and to eroticism, with the presence of menacing yet seductive female witches, vampires and ghosts. Thanks to such filmmakers as Mario Bava (Black Sunday), Riccardo Freda (The Horrible Dr. Hichcock), and Antonio Margheriti (Castle of Blood), as well the iconic presence of actress Barbara Steele, Italian Gothic horror went overseas and reached cult status. The book examines the Italian Gothic horror of the period, with an abundance of previously unpublished production information drawn from official papers and original scripts. Entries include a complete cast and crew list, home video releases, plot summary and the author's analysis. Excerpts from interviews with filmmakers, scriptwriters and actors are included. The foreword is by film director and scriptwriter Ernesto Gastaldi.

Gothic cinema, typified by the films of Universal, Hammer, Amicus and Tigon, grew out of an aesthetic that stretches back to the 18th century and beyond, even to Shakespeare. This book explores the origin of Gothic cinema in art and literature, tracing its connection to the Gothic revival in architecture, the Gothic novel, landscape, ruins, Egyptology, occultism, sexuality, the mythology of werewolves, the philosophy of Hegel, and many other aspects of the Romantic and Symbolist movements.

The Italian Gothic horror genre underwent many changes in the 1980s, with masters such as Mario Bava and Riccardo Freda dying or retiring and young filmmakers such as Lamberto Bava (Macabro, Demons) and Michele Soavi (The Church) surfacing. Horror films proved commercially successful in the first half of the decade thanks to Dario Argento (both as director and producer) and Lucio Fulci, but the rise of made-for-TV products has resulted in the gradual disappearance of genre products from the big screen. This book examines all the Italian Gothic films of the 1980s. It includes previously unpublished trivia and production data taken from official archive papers, original scripts and interviews with filmmakers, actors and scriptwriters. The entries include a complete cast and crew list, plot summary, production history and analysis. Two appendices list direct-to-video releases and made-for-TV films.

Italian Gothic horror films of the 1970s were influenced by the violent giallo movies and adults-only comics of the era, resulting in a graphic approach to the genre. Stories often featured over-the-top violence and nudity and pushed the limits of what could be shown on the screen. The decade marked the return of specialist directors like Mario Bava, Riccardo Freda and Antonio Margheriti, and the emergence of new talents such as Pupi Avati (The House with the Laughing Windows) and Francesco Barilli (The Perfume of the Lady in Black). The author examines the Italian Gothic horror of the period, providing previously unpublished details and production data taken from official papers, original scripts and interviews with filmmakers, scriptwriters and actors. Entries include complete cast and crew lists, plot summaries, production history and analysis. An appendix covers Italian made-for-TV films and mini-series.

Examines the psychological, cultural, and political implications of Gothic fiction, and helps to explain why horror writers and filmmakers have found such large and receptive audiences eager for the experience of being scared out of their wits.Exploring the psychological and political implications of Gothic fiction, Valdine Clemens focuses on some major works in the tradition: The Castle of Otranto, Frankenstein, Dr. Jekyll and Mr. Hyde, Dracula, The Shining, and Alien. She applies both psychoanalytic theory and sociohistorical contexts to offer a fresh approach to Gothic fiction, presenting new insights both about how such novels “work” and about their cultural concerns.Clemens argues that by stimulating a sense of primordial fear in readers, Gothic horror dramatically calls attention to collective and attitudinal problems that have been unrecognized or repressed in the society at large. Gothic fiction does more, however, than simply reflect social anxieties; it actually facilitates social change. That is, in frightening us out of our collective “wits,” Gothic fiction actually shocks us into using them in more viable ways.

In this examination of the monster as cultural object, Judith Halberstam offers a rereading of the monstrous that revises our view of the Gothic. Moving from the nineteenth century and the works of Shelley, Stevenson, Stoker, and Wilde to contemporary horror film exemplified by such movies as Silence of the Lambs, Texas Chainsaw Massacre, and Candyman, Skin Shows understands the Gothic as a versatile technology, a means of producing monsters that is constantly being rewritten by historically and culturally conditioned fears generated by a shared sense of otherness and difference.Deploying feminist and queer approaches to the monstrous body, Halberstam views the Gothic as a broad-based cultural phenomenon that supports and sustains the economic, social, and sexual hierarchies of the time. She resists familiar psychoanalytic critiques and cautions against any interpretive attempt to reduce the affective power of the monstrous to a single factor. The nineteenth-century monster is shown, for example, as configuring otherness as an amalgam of race, class, gender, and sexuality. Invoking Foucault, Halberstam describes the history of monsters in terms of its shifting relation to the body and its representations. As a result, her readings of familiar texts are radically new. She locates psychoanalysis itself within the gothic tradition and sees sexuality as a beast created in nineteenth century literature. Excessive interpretability, Halberstam argues, whether in film, literature, or in the culture at large, is the actual hallmark of monstrosity.

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As the millennium draws to a close, a Gothic spirit once again penetrates much of today's art and culture. Over the past decade, American and European artists have grown increasingly fascinated with the dark and uncanny side of the human psyche—the theatrical and grotesque, the violent and destructive. Taking its starting point and title from the Gothic novel, this book investigates the full-blown revival of a Gothic sensibility in contemporary art; in American and British fiction labeled the "New Gothic"; in film with its long tradition of horror; and in video, music, fashion, design, and underground culture. Gothic accompanies an exhibition at The Institute of Contemporary Art, Boston, of twenty-three artists who produce horror as well as amazement through often ugly, fragmented, and contorted forms. Some employ a detached and reductive formal language to transmute images of excessive and gruesome violence, nevertheless achieving an equally disconcerting impact. The old Gothic themes of the fantastic and pathological are infused with new potency as they address concerns about the body, disease, voyeurism, and power. Essays by John Gianvito, Christoph Grunenberg, James Hannaham, Patrick McGrath, Joyce Carol Oates, Shawn Rosenheim, Csaba Toth, and Anne Williams, and a short story by Dennis Cooper, explore the Gothic in history and in contemporary art and culture. Artists: Julie Becker, Monica Carocci, Dinos and Jake Chapman, Gregory Crewdson, Keith Edmier, James Elaine, Robert Gober, Douglas Gordon, Wolfgang Amadeus Hansbauer, Jim Hodges, Cameron Jamie, Mike Kelley, Abigail Lane, Zoe Leonard, Tony Oursler, Sheila Pepe, Alexis Rockman, Aura Rosenberg, Pieter Schoolwerth, Cindy Sherman, Jeanne Silverthorne, Gary Simmons. Copublished with The Institute of Contemporary Art, Boston.

The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

As the millennium draws to a close, a Gothic spirit once again penetrates much of today's art and culture. Over the past decade, American and European artists have grown increasingly fascinated with the dark and uncanny side of the human psyche--the theatrical and grotesque, the violent and destructive. Taking its starting point and title from the Gothic novel, this book investigates the full-blown revival of a Gothic sensibility in contemporary art: in American and British fiction labeled the "New Gothic"; in film with its long tradition of horror; and in video, music, fashion, design, and underground culture. Gothic accompanied an exhibition at the Institute of Contemporary Art, Boston, of twenty-three artists who produce horror as well as amazement through often ugly, fragmented, and contorted forms. The old Gothic themes of the fantastic and pathological are infused with new potency as they address concerns about the body, disease, voyeurism, and power. Essays by John Gianvito, Christoph Grunenberg, James Hannaham, Patrick McGrath, Joyce Carol Oates, Shawn Rosenheim, Csaba Toth, and Anne Williams, and a short story by Dennis Cooper, explore the Gothic in history and in contemporary art and culture. Copublished with the Institute of Contemporary Art, Boston.

Book is in NEW condition. 0.75

The Wicked and the Willing: An F/F Gothic Horror Vampire Novel 1.77

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 1.26