By John Landis
From B-movie bogeymen and outer area oddities to big-budget terrors, Monsters within the Movies by means of mythical filmmaker John Landis showcases the best monsters ever to creep, fly, slither, stalk, or rampage around the Silver Screen!
Landis offers his personal attention-grabbing and enjoyable insights into the area of moviemaking, whereas engaging in in-depth "conversations" with prime monster makers, together with David Cronenberg, Christopher Lee, John chippie, and Sam Raimi — to debate the most petrifying monsters ever visible. He additionally surveys the old origins of the archetypal monsters, akin to vampires, zombies, and werewolves, and takes you backstage to find the secrets and techniques of these special-effects wizards who created such mythical frighteners as King Kong, Dracula, and Halloween's Michael Myers. With greater than a thousand lovely motion picture stills and posters, this ebook is certain to maintain even the main severe fright-seekers on the fringe of their seats for hours!
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Extra info for Monsters in the Movies
19 More importantly, Zhang Weiping’s successful operation ensures Zhang Yimou’s brand value far exceeds film and art circles to become a China-made international brand. In addition to film, the products of this brand also include opera, dance show and spokespersons for luxury goods. In other words, Zhang Weiping has become the ‘director’ of an exciting drama that features Zhang Yimou as the leading role and the only ‘star’. Like a ‘star’, the only constant among a number of variables is the role of the successful person.
Hamid Naficy, An Accented Cinema: Exilic and Diasporic Filmmaking (Princeton: Princeton University Press, 2001), 36. On the ‘movement-image’, see Gilles Deleuze, Cinema 1: The Movement-Image, trans. Hugh Tomlinson and Barbara Habberjam (Minneapolis and London: University of Minnesota Press, 1986). On the temporality of electronic technologies, see Vivian Sobchack, ‘The Scene of the Screen: Envisioning Cinematic and Electronic “Presence”’, John Thornton Caldwell, ed. Electronic Media and Technoculture (New Brunswick: Rutgers University Press, 2000), 150.
Morgan, ‘Musical Time/ Musical Space’, Critical Inquiry 6:3 (1980), 527–538. Sound is, of course, often used to bridge disparate images to create a kind of narrative continuity. , How East Asian Films Are Reshaping National Identities: Essays on the Cinemas of China, Japan, South Korea and Hong Kong (New York: Mellen Press, 2007). Rey Chow, Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema (New York: Columbia University Press, 1995). For other takes on the Fifth Generation, see Dai Jinhua ‘Severed Bridge: The Art of the Sons’ Generation’ in Jing Wang and Tani Barlow, ed.