Little did San Francisco detectives, Mackenzie and Fergusson know, that there was achilling and restless secretin a couples back yard. The detectives however, would later find out about the forty-one-year-old mystery first hand.However, during the investigation it was clear that they were after anescaped mental patient on a murder spree. Also, thediscovery of major cover-ups, by oneof San Franciscos elite Doctors, fifty-eight years ago, would proverevengeful and deadly.

The horror genre harbors a number of films too bold or bizarre to succeed with mainstream audiences, but offering unique, startling and often groundbreaking qualities that have won them an enduring following. Beginning with Victor Sjostrom's The Phantom Carriage in 1921, this book tracks the evolution and influence of underground cult horror over the ensuing decades, closing with William Winckler's Frankenstein vs. the Creature from Blood Cove in 2005. It discusses the features that define a cult film, trends and recurring symbols, and changing iconography within the genre through insightful analysis of 88 movies. Included are works by popular directors who got their start with cult horror films, including Oliver Stone, David Cronenberg and Peter Jackson.

Bergman is a most versatile director who has devoted himself to several muses in a variety of media. Apart from being a writer of plays and screenplays, he has over the past fifty years directed about a hundred stage performances, fifty films, and many works for radio and television. During this time, all the production equipment used have undergone significant changes (allowing, just for instance, a more varied and subtle use of light and sound). But by his own admission, Bergman's texts have often lacked a clear orientation toward a specific medium. This book focuses on Bergman's way of tackling the problems inherent in each art form he has dealt with, giving a penetrating picture of his craftsmanship and the intimate relationship between his work on stage and in film, as well as the possibilities and limitations of the various forms. With the varied media at his disposal, Bergman is internationally the most versatile author-cum-director presently at work, well aware of what each medium can and cannot do and, most importantly, eager to test its borders. The book addresses itself not only to Bergman fans but also to all those interested in the aesthetic problems related to different presentational forms.

The basis for the phantom carriage

A powerful combination of ghost story and social realism.

Memorable stills from great cinematic tradition — Ingeborg Holm (1913) to Wild Strawberries (1957). Complete credits, synopsis, commentary for each film. Introduction, critical biographies of directors.

100 Silent Films provides an authoritative and accessible history of silent cinema through one hundred of its most interesting and significant films. As Bryony Dixon contends, silent cinema is not a genre; it is the first 35 years of film history, a complex negotiation between art and commerce and a union of creativity and technology. At its most grand – on the big screen with a full orchestral accompaniment – it is magnificent, permitting a depth of emotional engagement rarely found in other fields of cinema. Silent film was hugely popular in its day, and its success enabled the development of large-scale film production in the United States and Europe. It was the start of our fascination with the moving image as a disseminator of information and as mass entertainment with its consequent celebrity culture. The digital revolution in the last few years and the restoration and reissue of archival treasures have contributed to a huge resurgence of interest in silent cinema. Bryony Dixon's illuminating guide introduces a wide range of films of the silent period (1895–1930), including classics such as The Birth of a Nation (1915), The General (1926), Metropolis (1927), Sunrise (1927) and Pandora's Box (1928), alongside more unexpected choices, and represents major genres and directors of the period – Griffith, Keaton, Chaplin, Murnau, Sjöström, Dovzhenko and Eisenstein – together with an introductory overview and useful filmographic and bibliographic information.