Into the Green Inferno: Italian Cannibal Films, by Tim McLean.<br>

Becoming Bruce Campbell: An Autobiography, of Sorts, by Jon Irwin.<br>

Jeffrey's Strange Discovery: Gender, Sexual and Parental Roles in David Lynch's Blue Velvet, by Dan Burns.<br>

Cos For Concern: An Interview with legendary genre director Don Coscarelli, by Louis Fowler.<br>

Sound and Soundtrack: Diegetic Thrills & Chills in Session 9, by Matthew Monagle.<br>

Plus much more...

Quint Is The Word For God On The Lips Of All Fishermen
by Joe Cermele.<br>

Unfilmable: Bringing Lovecraft to the Screen
by Erin Wiegand.<br>

Dreaming in Red:
The Pornographication of Death and Violence in the films of Dario Argento
by James Gracey.<br>

Basket Case: Comparing Notes Belial Style
by John Begley.<br>

Pasolini: Art or Exploitation?
by C. Warner Sills.<br>

Super 8 Rot: The Legacy of Nekromantik
by Matthew Whoolery.<br>

Plus much more...

Monster Queen: The Transgressive Body of Divine in Pink Flamingos,
by Lindsay Hallam.<br>

Nadsat Yahzick: Understanding The Language Of Alex And His Droogs,
by S. Patrick Gallagher<br>

His Stuff'll Kill Ya!
An Interview With The Father Of Splatter, Herschell Gordon Lewis,
by Louis Fowler<br>

The Two Sergios,
by Roy Maurer<br>

Shock Tactics: The films of Pete Walker,
by James Gracey<br>

The Devil Wears Custom-Made Boots:The Death of Innocence in
Joyce Chopra's Smooth Talk,
by Todd Garbarini<br>

Plus much more...

Are You Afraid of...Yourself? Exploring the Gothic in Hitchcock's Vertigo
by Molly Griffin.<br>

"100% SADIST": Sex and Violence in Takashi Miike's Ichi The Killer
by Lindsay Hallam.<br>

The Crude Revolutionary Aesthetic of Sweet Sweetback's Baadasssss Song
by Matthew Whoolery.<br>

Holy Nunsploitation! A History of the Rise and Fall of a Sub-Genre
by James McCormick.<br>

East European Cinema and Its Discontents: Nazism and the Aesthetic of Excess
in Juraj Herz's The Cremator
by Seth Watter.<br>

Skate Cinema: From Memory Screen to Gummo
by Benjamin Henry DeVries.<br>

Plus much more...

Behind Dark Glasses: The Not-So-Hidden Messages in They Live
by S. Patrick Gallagher.<br>

Doomed to Agony - A Look at Universal's The Wolf Man and Whence It Came
by Roy Maurer.<br>

Bad Girls Go To Hell: Cult director Doris Wishman made movies that prove Americans have always been, and always will be, total perverts.
by Denez McAdoo.<br>

Rethinking The Remake
by James McCormick.<br>

Vicious Cunts: Transgressive Sexuality & Monstrous Femininity in Ginger Snaps
and Teeth by James Gracey.<br>

Royale With Seduction: The Gothic Heart of Pulp Fiction
by Molly Griffin.<br>

Plus much more...

* Re-Animator: Blending the Body Genres of Horror and Comedy<br>
* Rod Taylor-Hollywood Time Traveler<br>
* The Origins of Last House on the Left<br>
* The Anti-Industrial Revolution and The Anti-Aesthetic Approach of Paul Morrissey<br>
* Maybe Our Biggest Hopes and Fears for the Human Race can Best be Expressed by Apes

Boys to Men...(and Back Again)<br>
by Mike White<br>
<br>
The Bikinis, Hairspray, and Shattered Ceilings of Bimbo Feminism:<br>

Anita Rosenberg's <em>Modern Girls</em> and <em>Assault
of the Killer Bimbos</em> <br>
by Jonathan Plombon<br>
<br>
Cold Cinema: Emotional Glaciation and Active Spectatorship
in<br>
Michael Haneke's <em>Funny Games</em><br>

by James Gracey<br>
<br>
Deconstructive Feedback: The Cinema of Larry Cohen<br>
by Adam Protextor<br>
<br>
Ralph Bakshi: Godfather of American Alternative Animation<br>
by Sean M. Kennedy<br>

<br>
Go Get the Butter An Anal-ysis of Bertolucci's <em>Last
Tango In Paris</em><br>
by Todd Garbarini</p>
<p>Plus much more...</p>

War May Be Hell, But a Sequel Is Purgatory:<br>
Thematic Combat
With <span class="s">Battle Royale II: Requiem</span><br>
by Emily Intravia<br>

<br>
Love, Loss, and Astounding Growth in <em>The Incredible Shrinking
Man<br>
</em>and <em>Attack of the Fifty-Foot Woman </em>by Jessie Robie</p>
<p>"Oh Hi, Movie!" The Unironic Aesthetics of "So
Bad It's
Good" In<br>
Tommy Wiseau's <em>The Room</em><br>

by John Semley</p>
The Story Behind Jim Wynorski's<span class="s"> Munchie
Strikes Back</span><br>
OR Paracinema's Parents' Manual for Little Billy's
Question:<br>
"Why
is the TV puppet telling me to vote Democrat?"<br>
by Jonathan Plombon<br>

<br>
The Serial Killer's Mind: Comparing and Contrasting
the Male Psyches in<br>
<em>Henry Portrait of a Serial Killer</em><br>
by Brantley Palmer<br>
<br>
Loss and Hope - The Past and the Future in The Road Warrior<br>
by Todd Garbarini </p>

In Space, What You (Almost) Hear is Ka-ching!: The Genius Film Marketing and Knuckleheaded Toy Merchandising of <em>Alien</em><br>by Todd Garbarini</p>
<p>The Death and Life of Cinema: An interview with Joe Dante<br>
by Brian Saur</p>
<p>Emanuelle, Transnationality and the Cannibalisation of Cultures<br>

by Ben Buckingham</p>
<p>How Hannibal Lecter Helped me Through a Difficult Time in my Life
<br>by Jessie Robie</p>
<p>Australia's Hollywood Pioneers and those who followed<br>
by Bruce J. Patience</p>
<p>Devastating Color: Horror and magic in Herschell Gordon Lewis's The Wizard of Gore<br>
by Madelon Hoedt</p>

<p>Plus much more...</p>

Melodrama in Fast Motion:
Beyond the Valley of the Dolls As Not Just Strange but Scathing
by Adam Blomquist<br>
Pink Socks and Monsters: Excess in Andrzej Żuławski's Possession
by Todd Garbarini
<br>
Film Fanatical: A Conversation with Author Danny Peary by
Brian Saur
<br>
Robert Downey, The Fool Prince by
Brett Taylor

Demystifying Superwoman: Shifty Gender Roles, Hysterical Moms, &amp; Pissed Off Daughters in The Exorcist<br>
<p1>by Ashlee Blackwell</p1><br><br>
<p>Frankenhooker: Titular Commodification of Women
<p1>by Lisa Cunningham</p1>
</p><p>Rape-Revenge Films: A Guide for the Faint-Hearted
<p1>by Chelsea Suarez</p1>
</p><p>The Degrading Last Days of Laura Palmer: A Backwards Glance at Twin Peaks: Fire Walk With Me

<p1>by Christine Hadden</p1>
</p><p>Spiritual Viagra (How a Mummy in Cowboy Boots Gave Elvis a Hard-On)<br>
<p1>by Molly Marie Griffin</p1>
</p><p>Mental Illness in Horror Films: Lifting the Stigma with Let's Scare Jessica to Death<br>

<p1>by Andre Dumas</p1>
</p><p>Plus much more...</p>

The Man From Australia: Falling Without a Parachute Through the Films of Ozploitation Filmmaker, Brian Trenchard-Smith <br>
<p1>by Justin Bozung</p1><br>
<p>Howling All the Way Straight to Video <br>
<p1>by Brett Taylor</p1>
</p><p>The Good, The Bad and The Fulci:<br>
Tales of Redemption and Revenge from Four of the Apocalypse
<p1>by Christian Sellers</p1>

</p><p>No Future for You: Punk Aesthetics and British Identity in Derek Jarman's Jubilee<br>
<p1>by Andreas Stoehr</p1>
</p><p>Explorers: Exploring Childhood Escapism<br>
<p1>by Matthew House</p1>
</p><p>Kiyoshi Kurosawa: Reflections on Revenge<br>

<p1>by Joshua Samford</p1>
</p><p>Plus much more...</p>

Blood Is Thicker Than Fear: Maternal Madness in Horror Cinema<br>
<span class="color">by Ashley Avard</span></p>
<p>Allan Carr and the Making of Where the Boys Are '84 <span class="color">by Paul Talbot</span></p>
<p>Dreams That You Could Never Guess: Bela Lugosi on Poverty Row, 1940-42<br>
<span class="color">by Andreas Stoehr</span></p>
<p>Turkish Rip-Offs <span class="color">by Ronnie Tucker</span></p>

<p>Censoring the Centipede: How the BBFC are Sewing Our Eyes Shut<br>
<span class="color">by Liam Underwood</span></p>
<p>Teenage Riot: Coming of Age in Modern Cinema <span class="color">by Christian Sellers</span></p>
<p>Plus much more...</p>

Panic In Detroit! Robocop & Reagan's Amercia<br>
Horror Parodies of the Early '80s<br>
Peter Jackson's Heavenly Creatures<br>
PLUS: A Fistful of Dollars, Crime Wave, Jump Scares and more!

Cover illustration by Alex Fine<br>
When Life Gives You Razor Blades: Bloody Vengeance in Hobo with a Shotgun by Christine Makepeace<br>
Revenge is a Dish Best Served Raw and Wriggling: Park Chan-Wook's Vengeance Trilogy by Samm Deighan<br>
Going Back Home: Post-Vietnam Masculinity in Rolling Thunder by Adam Blomquist<br>
Point Blank: Nobody Knows by Melvin Cartagena<br>
You Want It, You Got It: The Grim and Gritty Extremes of Punisher: War Zone by Patrick Smith<br>
Chainsawing Well is the Best Revenge: Texas Chainsaw Massacre 2's Texas Sized Vengeance by Zachary Kelley<br>
Plus much more...

"Images of Horror and Lust" in Ken Russell's The Devils. by Samm Deighan<br>
Flinging Lingerie at Police Cars with Lulu, Peaches and Darlene: The Fashionably True Story of How Female Rebellion Launched the Assault of the Killer Bimbos. by Jonathan Plombon<br>
Recovered Realities: Found Footage and Mockumentary Horror. by C. Rachel Katz<br>
Rehabilitating Daddy, or How Disaster Movies say it's OK to Trust Authority. by Jon Towlson<br>
The Films of Rene Laloux: Notes on the Golden Age of French Science Fiction. by Derek Godin<br>
This Ain't Hollywood XXX: The Cultural Significance of the Porn Parody. by Justin LaLiberty<br>
Plus much more...

<strong>Featuring:</strong></p>

<p>“Endemic Madness”: Subversive 1930s Horror Cinema<br>
by Jon Towlson</p>

<p>Of Bonsai and Balance: The Hero’s Journey in <em>The Karate Kid</em><br>
by Patrick Cooper</p>

<p>You Can Clean Up the Mess, But Don’t Touch My Coffin: The Legacy<br>
of Sergio Corbucci’s <em>Django</em><br>
by Ed Kurtz </p>

<p>Be Kind, No Need to Rewind: The Preservation, Demand and Ubiquity of Shot on<br>
VHS Cinema in an Increasingly Digital Landscape<br>
by Justin LaLiberty</p>

<p>I Don’t Want to See What I Hear: Paranoia and Personality Eradication in <em>The Conversation</em><br>
by Todd Garbarini</p>

<p>Black Cats and Black Gloves: The Influence of the Gothic on Sergio Martino’s<br>
<em>Your Vice is a Locked Room and Only I Have the Key</em><br>
by James Gracey</p>

<p><strong>Plus much more…

<strong>FEATURING:</strong></p>

<p>Speed Racer: The Art of Absurdity<br>
by Patrick Smith</p>

<p>In a Lonely Place and the Shadow of Serial Crime<br>
by Samm Deighan</p>

<p>Now Read the Movie: Chronicle as Young Adult Literature<br>
by C. Rachel Katz</p>

<p>That Movie About the Giant Turtle and the Girl with Glowing Green Eyes<br>
by Todd Garbarini</p>

<p>Norman Mailer’s Underground Trilogy<br>
by Brett Taylor</p>

<p>The Goriest Film You Never Saw<br>
by Jose Cruz</p>

<p>Lost Video Archive: Aerobicide &amp; Death Spa<br>
by Seth Goodkind</p>

<p>Marriage Bites: Lesbian Vampires and the Failure of Heterosexuality in Daughters of Darkness<br>
by Erin Wiegand</p>

<p>“When Single Shines the Triple Sun”: Duality and Self Discovery in The Dark Crystal<br>
by Christine Makepeace</p>

<p>Freedom in Filmmaking: Universal’s Indie Experiment<br>
by Martin Harris</p>

<p>3D’s Use and Potential in Today’s Cinematic Landscape<br>
by Caleb McCandless</p>

<p>Last Words: … And I Feel Fine.<br>
by S. Patrick Gallagher

<strong>FEATURING:</strong></p>

<p>Cover illustration by Garry Brown<br>

<br>
Phoebe Moves in Stereo: How <em>Fast Times at Ridgemont High</em> Gave Birth to a Classic Scene<br>
by Mike McGranaghan</p>

<p>John Carpenter and the Apocalypse: A Study of Three Films<br>
by Justin LaLiberty</p>

<p>Lost Video Archive: <em>Skatetown USA</em><br>
by Seth Goodkind</p>

<p>Aural Enigmas: Sound Design in Ti West’s <em>The Innkeepers</em><br>
by Todd Garbarini</p>

<p>Japan’s Direct to Video Explosion<br>
by Josh Johnson</p>

<p>Firing Broadsides: Creating a Horror Canon<br>
by C. Rachel Katz</p>

<p>The Devil’s in The DeVAS: The Many Foes of Beatrix Kiddo<br>
by Zachary Kelley</p>

<p>Corpse Fucking Art: A Guide to Necrophilia in Horror Cinema<br>
by Samm Deighan</p>

<p>“I’m sorry if the end of the world makes me a little nervous.” An Interview with Kelli Maroney<br>
by Chris Hallock</p>

<p>It’s Complicated: An In Depth Look at the Evolution of Bill and The Bride’s<br>
Turbulent Relationship in <em>Kill Bill</em><br>
by Matthew House</p>

<p>What’s In A Name? The Rise and Decline of Hollywood Fall Guy Alan Smithee<br>
by James Gracey</p>

<p>Last Words: Burn the Innocents with the Aggressors<br>
by S. Patrick Gallagher</p>

A Serbian Film: Transgressive Horror
in the Internet Age by Thomas Duke.

Sam The Great And Powerfull
by Bryce Wilson.

Juice Dogs & Erotic Trauma: An Exploration into Stephen Sayadian’s Nightdreams and Dr. Caligari by Heather Drain.

The Vehicle Possessed–Masculinity and Male Agency in Wheels of Terror
by Seth Goodkind.

The Making of the Penitentiary Films
by Paul Talbot.

The Lion in Winter: The Later Years of the American Action Hero by Jon Abrams.

The Many Villainous Faces of
David Patrick Kelly by Chris Hallock.

Eyes Wide Open: Finding the Key to Stanley Kubrick’s The Shining through Rodney Ascher’s Room 237 by Todd Garbarini.

Dying to Learn: Racial Politics and Violence as Pedagogy in Teacher-Features of the Post-Reagan Era by L.H. Marks.

They Call Me Bruce: The History of Bruce Lee Exploitation Cinema
by Will Sloan.