“The Zombie Film” alternates frustrating vagueness with in-depth analysis

book cover - zombie filmAlain Silver and James Ursini's new tome, The Zombie Film: From White Zombie to World War Z, is out now from Applause Theatre & Cinema Books, and despite some flaws, it's worth grabbing, especially for those newly interested in the genre, although longtime horror buffs can find a few new grains of information. The Zombie Film essentially waffles between seriously in-depth analysis and what seems like a galloping rush to include as much material as possible. While Silver and Ursini should get a huge pat on the back for organizing the book into chronological and locale-specific chapters, rather than just churning out an A-Z list of reviews and summaries, few films get near the analysis they deserve. Granted, that's excepted by films covered in sidebars -- Kiss Daddy Goodbye, for instance -- and George Romero gets an entire chapter devoted to his films. However, it seems that the authors' focus is on completeness, with an emphasis on introduction. The films which don't receive their own chapters or sidebars are covered in more thorough detail when they're less well-known. That approach is a very logical and entertaining approach -- I've seen Return of the Living Dead dozens of times, but Night of the Seagulls was completely unknown to me. As an aside, I watched it a couple of days ago, and I was thoroughly entertained by the film, which completely redeemed the Blind Dead films after the very awful Ghost Galleon. [embed]http://www.youtube.com/watch?v=8KVtx-mki6I[/embed] A big hole in the book is that there's no discussion of the two very different kinds of zombies which we've seen over the last eight decades -- the living dead vs. victims of some virus. The Zombie Film would seemingly be the perfect place to do it, yet they instead have a ridiculous sidebar like Linda Brookover's "Top Ten Reasons Why I Hate Zombies" taking up several pages. However, creatures which exist in the between, defying direct categorization provide ample opportunity for discussion of differing tropes. Jennifer's Body or I Am Legend both provide beings which exists somewhere between zombie and vampire, and John Edgar Browning's sidebar, "Of Beginnings and Bloodlines", explores these differences while making the very accurate and clever observation that Matheson's "I Am Legend" introduced the concept of zombies, plural, a major factor in genre development. If you can get past the the fact that there are a few grievous spelling errors, and grammatical issues like periods for commas, along with the slightly superficial gloss that covers half the book, you should be fine. It is a trifle irritating that Silver and Ursini not only cover certain films very briefly, but also avoid offering any sort of opinion. Opinion is usually only offered if a film is particularly bad, and even that's reserved for acting more than anything else, with "wooden" being the particular descriptor of choice. The Zombie Film is available now, and you can buy it direct from Hal Leonard Books.

Podcast #99, “Pop Scares”

cover - Waxwork-Re-AnimatorThree weeks, and here we are with another podcast. I think this might be the start of something good. Here's to hoping, right? Anyhow, a goodly amount of new / newly-acquired tunes, along with an interview from Kevin Dredge of New Orleans-based soundtrack reissue label, Waxwork Records. We talked with Dredge about the ins and outs of reissues, as well as the label's upcoming releases. Their first release, a reissue of the Re-Animator soundtrack, is out tomorrow. They also just announced last week that they'll be reissuing the Krzysztof Komeda score for Rosemary's Baby. You can find out the details on that (as well as order things) at the Waxwork Records website. And if you're really hyped on the Waxwork Day of the Dead reissue, they're having a release for it in Hollywood, in late September. According to Dredge, "There will be a screening of the film, and George Romero and John Harrison will be there to do a Q&A after the film." No date's set, but keep your eyes peeled. Podcast #99, "Pop Scares" Barge, "Where's the Violence" (No Gain) Best Practices, "Home For Halloween" (Sore Subjects) Night Birds, "Last Gasp" (Maimed For the Masses) Sad Boys, "Frolic" (Sad Boys) --- Lawnmower, "Team Spirit" (Whack Yer Brain) Tyler Daniel Bean, "I Was Wrong" (Everything You Do Scares Me) GRMLN, "Coastal Love" (Empire) Shannon & the Clams, "Rip Van Winkle" (Dreams In the Rat House) --- Interview with Kevin Dredge of Waxwork Records --- Lemuria, "Oahu, Hawaii" (The Distance Is So Big) Mixtapes, "Swirling" (Ordinary Silence) The Bubble Boys, "10th & Mass" (Ownlife Records) Revolvers, "Marrianna" (Marley) --- The Hussy, "Zzuf" (Pagan Hiss) Diarrhea Planet, "Juggernaut!" (Loose Jewels) Radkey, "Out Here In My Head" (Cat & Mouse EP) Rocket From the Crypt, "Pigeon Eater" (Both Good Songs)

Cipro Dog

book-cover-dark-directionsUpon first flipping through Cipro Dog, Kendall R. Phillips' new book, Dark Directions: Romero, Craven, Carpenter, and the Modern Horror Film, I was worried that it was going to go down the same path as Shock Value, and attempt to cover too much ground in too short a space. Thankfully, 50mg Cipro Dog, such is not the case.

Dark Directions - while, at times, covering a similar era as that of Shock Value - is a totally different book. Phillips takes the work of three directors, susses out a particular thematic thrust from each, and uses that particular theme as a lens to focus his view of each man's work.

The particulars are what allows Dark Directions to succeed as it does, Cipro Dog. 1000mg Cipro Dog, Specifically, Phillips doesn't focus entirely on the "horror" output of each director. Recognizing that such a limited range would hamstring his work, the author brings similarly-themed "genre" pictures from the three filmmakers into his critcism, allowing for each argument to be made more fully.

they-live-alienWith John Carpenter's films (and, to a lesser extent, those of George Romero), the need to bring in a greater range of genre is most necessary, Cipro Dog uk. As Carpenter's films include action/adventure, sci-fi, and so forth, it's vital to include films such as Big Trouble In Little China in order to better comprehend the purpose of the drifter in They Live. Cipro Dog, As with most works that are directed more towards a scholarly audience, rather than mass appeal, there's a certain assumption that the reader is familiar with the works being covered. If the reader's not viewed the films directly, there's at least an assumed passing familiarity with each director's overall output. In essence, 10mg Cipro Dog, Dark Directions may lose the casual reader, but there are enough touchstones along the way that most film buffs will be able to follow along.

Phillips deserves serious kudos for his admission that every director might not fit specifically into each slot the author has prepared. While Carpenter might focus his directorial vision on the frontier, he certainly has elements of the Gothic in his work, if not to the extent that Wes Craven uses them. The explanation of each director's non-genre work is appreciated, as well.

Dark Directions makes good on its promise to place Carpenter, Cipro Dog mexico, Craven, and George Romero within the pantheon of important '70s filmmakers. Discussing the themes and storytelling abilities of each director, Phillips has a definitive case for their inclusion with the likes of Martin Scorcese in terms of influence.

Similar posts: Lowest Price On Lumigan Eye Drops. Contraindications With Prozac. 200mg Natrual Alternative To Colchicine. 40mg Should Tetracycline Go In Fridge.
Trackbacks from: Cipro Dog. Cipro Dog. 100mg Cipro Dog. 30mg Cipro Dog.