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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.
From Famous Monsters of Filmland to Fangoria... and everything in between, Xerox Ferox is much more than a book about monster magazines. It is the first book of its kind to examine the home-grown DIY fanzines that dared to dig deeper than the slick and shiny newsstand mags ever would... or indeed even could.The titles were as lurid as the films that they covered. Gore Gazette. Deep Red. Sleazoid Express. Before message boards, before blogs, before the Internet itself, the fanzine reigned as the chief source of news and information for horror fans worldwide. Often printed on the cheap and sold for the price of postage, madcap mags like Slimetime, The Splatter Times, and Subhuman traveled the globe, creating a thriving network of fans and professionals alike.Xerox Ferox traces the rise of the horror film fanzine, from the Famous Monster-starved kids of the 1960s to the splatter-crazed gorehounds of the Fangoria generation. Featuring in-depth interviews with over fifty writers, editors, and industry pros, Xerox Ferox is the final word on an era that changed the world of fandom forever... Xerox Ferox is the first title to cover the horror film fanzine phenomenon and culture in encyclopedic depth. The book also contains lengthy chapters that deal with the New York zine scene and the hub of its grindhouse activity, Times Square. In many ways, the book works as time capsule of that era-writers and filmmakers including Jimmy McDonough, Bill Landis, Mike McPadden, Steve Puchalski, Roy Frumkes, and Buddy Giovinazzo share their memories of the movie houses of Forty Second Street-and the dangers that were encountered while visiting them. Not limited to New York City, Xerox Ferox also concentrates on the drive-in theaters of the south. Other topics discussed include commercial Super-8 horror films of the 1960s and 1970s, the home video revolution of the 1980s, regional exploitation films, low budget filmmaking, and of course, self publishing, networking, and distribution.
The best of the first twelve, long-out-of-print issues of the celebrated underground smash magazine Cinema Sewer. A mind-melting compilation of gonzo writing, illustration and comics about the most insane, sexy, awkward, cheesy, hilarious, upsetting and
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.
"Brings together scholars from film and media studies for the definitive academic study of 'real death' on screen - from horror cinema, to pornography, to online 'shock videos'"--
The first edited volume devoted to the legendary cult director Jess Franco.
"Working virtually alone, on infinitesimal budgets, Milligan crafted some unique melodramas of the 1960s and 1970s. Using costumes sewn by the filmmaker, Milligan's gritty, bizarre films come across as the random cinéma vérité of a lunatic with a home movie camera. Evident throughout are deconstruction of the heterosexual paradigm, and the family as breeder of dysfunction"--Provided by publisher.

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