Now it can be told - here are the true stories of fifteen fearless filmmakers who defied the system...and won! This incredbible book documents the real stories of Hollywood's true giants, the pioneers and crazed visionaries, the cinematic sorcerers without any scruples: magnificent men like Sam Katzman, Jim Wynorski, Fred Olen Ray, Jess Franco, and Edward D. Wood, Jr.

Now it can be told—here are the true stories of fifteen fearless filmmakers who defied the system…and won! This incredible book documents the real stories of Hollywood's true giants, the pioneers and crazed visionaries, the cinematic sorcerers without any scruples: magnificent men like Sam Katzman, Jim Wynorski, Fred Olen Ray, Jess Franco, and Edward D. Wood, Jr.

Now it can be told--here are the true stories of fifteen fearless filmmakers who defied the system ... and won! This incredible book documents the real stories of Hollywood's true giants, the pioneers and crazed visionaries, the cinematic sorcerers without any scruples: magnificent men like Sam Katzman, Jim Wynorski, Fred Olen Ray, Jess Franco, and Edward D. Wood, Jr.

Who was it who said that a friend is someone you can phone in the middle of the night and say, "I've just killed a man" and he'll say "OK, where's the body?" Adrien and Bernard are lifelong friends and business partners. It's Bernard's fortieth birthday. But Adrien can't come. Adrien has a big night at his club. And the crash starts there. An intimate, fast moving, cruel and tender comedy about friendship, obsession and the absurdity of desire. An epic journey from small things to the big one."There are no rules for friendship, but there are...guidelines" Members Only opened at the Trafalgar Studios in March 2006.

Through changes in archival and industrial practices, the very pastness of vintage pornographic cinema becomes a source of both eroticism and cultural conflict.

While the pimps and players of blaxploitation movies dominated inner-city theaters, good old boys with muscle under their hoods and moonshine in their trunks roared onto drive-in screens throughout rural America. The popularity of these "hick flicks" grew throughout the '70s, and they attained mass acceptance with the 1977 release of Smokey and the Bandit. It marked the heyday of these regional favorites, but within a few short years, changing economic realities within the movie business and the collapse of the drive-in market would effectively spell the end of the so-called hixploitation genre. This comprehensive study of the hixploitation genre is the first of its kind. Chapters are divided into three major topics. Part One deals with "good ol' boys," from redneck sheriffs, to moonshiners, to honky-tonk heroes and beyond. Part Two explores road movies, featuring back-road racers, truckers and everything in between. Part Three, "In the Woods," covers movies about all manner of beasts--some of them human--populating the swamps and woodlands of rural America. Film stills are included, and an afterword examines both the decline and metamorphosis of the genre. A filmography, bibliography and index accompany the text.

A social history of the ‘video nasty’. In the early 1980s, video technology forever changed the face of home entertainment. The videocassette – a handy-sized cartridge of magnetic tape inside a plastic shell – domesticated cinema as families across Britain began to consume films in an entirely new way. Demand was high and the result was a video gold rush, with video rental outlets appearing on every high street almost overnight. Without moderation their shelves filled with all manner of films depicting unbridled sex and violence. A backlash was inevitable. Video was soon perceived as a threat to society, a view neatly summed up in the term ‘video nasties’. CANNIBAL ERROR chronicles the phenomenal rise of video culture through a tumultuous decade, its impact and its aftermath. Based on extensive research and interviews, the authors provide a first-hand account of Britain in the 1980s, when video became a scapegoat for a variety of social ills. It examines the confusion spawned by the Video Recordings Act 1984, the subsequent witch hunt that culminated in police raids and arrests, and offers insightful commentary on many contentious and ‘banned’ films that were cited by the media as influential factors in several murder cases. It also investigates the cottage industry in illicit films that developed as a direct result of the ‘video nasty’ clampdown. CANNIBAL ERROR, a revised and reworked edition of SEE NO EVIL (2000), is an exhaustive and startling overview of Britain’s ‘video nasty’ panic, the ramifications of which are still felt today.