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A scene that influenced generations of writers, filmmakers and fans, 'Xerox Ferox' covers the horror film fanzine and the culture it spawned. It covers much more than monster magazines. It examines the home-grown DIY fanzines that dared to dig deeper than newsstand mags ever could.
The first edited volume devoted to the legendary cult director Jess Franco.
This volume explores the lower reaches of cinema and its paradoxical appeal. It looks at films from the B-movies of the 1930s to the mockbusters of today, and from the New York underground to the genre variations of Turkey's Yesilçam studios (and their YouTube afterlife). Critically examining the reasons for studying, denigrating, or celebrating the detritus of film history, it also considers the place of a trash aesthetic within and beyond 1960s American avant-garde and looks at the cult of trash in the fanzines of the 1980s. It draws on debates about cult, paracinema, and camp, arguing that trash cinema exists in relation to these but brings with it a particular history that includes the ordinary as well as the strange. Trash Cinema places these debates, and the strand of self-proclaimed low culture that emerged in the second half of the twentieth century, within a historical and international perspective. It focuses on American cinema history but addresses Eurotrash reception as well as the related field of garbology, examining trash cinema as a distinct but fluid category.
New York City, 1976. Newspaper ads dare the denizens of Times Square to see a morbid movie called The Incredible Torture Show. The film is yanked from theatres. Years later it is retitled Blood Sucking Freaks and hits pay dirt, becoming a perverse cult classic. Its writer and director is Joel M. Reed. Like his films, the life of Joel M. Reed is a crazy cocktail of New York satire and sleaze, commencing with cocktail lounges in the 1950s, before hitting the grindhouses of the 1970s. Using Reed and Blood Sucking Freaks as its cornerstone, this book - 20 years in the making - is a snapshot of the last gasp of Times Square as AIDS, crack, and anti-porn laws strike their final blow.
Contains children's drawings, collected into an exhibit by Helga Hoskova-Weissova, done by the prisoners of the Theresienstadt ghetto.

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