The story of Warhol’s greatest superstar The renowned photographer Francesco Scavullo has called Joe Dallesandro “one of the ten most photogenic men in the world.” Springing to fame at the beginning of the sexual revolution in films such as Flesh, Trash, and Heat, Dallesandro, with the help of his mentor, Paul Morrissey, and pop artist Andy Warhol, became a male sex symbol in the film world unlike any before him. His casual nakedness and characteristic cool in the Warhol Factory’s irreverent, now-classic films earned attention that crossed gender lines and liberated the male nude as an object of beauty in the cinema. In this biofilmography, an update and revision of Little Joe, Superstar, Michael Ferguson explores not only Dallesandro’s Warhol years, but his troubled childhood on the streets of New York, in juvenile detention, as physique model, and on the run. Ferguson examines all of Dallesandro’s films: the eight made with Warhol and Morrissey, including the X-rated Frankenstein and Dracula, the post-Factory career in both art-world and low-budget films abroad, and his works as character actor upon his return to America. Including new interviews with Dallesandro, photographs from the actor’s personal collection, and an extensive biographical section, Joe Dallesandro is the ultimate guide to an underground film icon who, according to Andy Warhol, “everyone was in love with.”

The Films of Paul Morrissey is the first appraisal of one of the major figures of American independent cinema. An innovator in the narrative cinema that emerged from Andy Warhol's Factory, Morrissey, as established in this study, was also the force who shaped the most important films that have heretofore been attributed to Warhol. The director's experiments in the use of non-professional actors, controversial subject matter, and language are demonstrated through analysis of his most accomplished achievements, including Mixed Blood, 40 Deuce, and Spike of Bensonhurst. The Films of Paul Morrissey furthermore reveals the director's challenge to the moral, social and political values of contemporary liberalism.

Factory Made: Warhol and the Sixties is a fascinating look at the avant-garde group that came together—from 1964 to 1968—as Andy Warhol’s Silver Factory, a cast that included Lou Reed, Nico, Edie Sedgwick, Gerard Malanga, Paul Morrissey, Joe Dallesandro, Billy Name, Candy Darling, Baby Jane Holzer, Brigid Berlin, Ultra Violet, and Viva. Steven Watson follows their diverse lives from childhood through their Factory years. He shows how this ever-changing mix of artists and poets, musicians and filmmakers, drag queens, society figures, and fashion models, all interacted at the Factory to create more than 500 films, the Velvet Underground, paintings and sculpture, and thousands of photographs. Between 1961 and 1964 Warhol produced his most iconic art: the Flower paintings, the Marilyns, the Campbell’s Soup Can paintings, and the Brillo Boxes. But it was his films—Sleep, Kiss, Empire, The Chelsea Girls, and Vinyl—that constituted his most prolific output in the mid-1960s, and with this book Watson points up the important and little-known interaction of the Factory with the New York avant-garde film world. Watson sets his story in the context of the revolutionary milieu of 1960s New York: the opening of Paul Young’s Paraphernalia, Truman Capote’s Black and White Ball, Max’s Kansas City, and the Beautiful People Party at the Factory, among many other events. Interspersed throughout are Watson’s trademark sociogram, more than 130 black-and-white photographs—some never before seen—and many sidebars of quotes and slang that help define the Warholian world. With Factory Made, Watson has focused on a moment that transformed the art and style of a generation.

Under modernity, time is regarded as linear and measurable by clocks and calendars. Despite the historicity of clock-time itself, the modern concept of time is considered universal and culturally neutral. What Walter Benjamin called “homogeneous, empty time” founds the modern notions of progress and a uniform global present in which the past and other forms of time consciousness are seen as superseded. In Translating Time, Bliss Cua Lim argues that fantastic cinema depicts the coexistence of other modes of being alongside and within the modern present, disclosing multiple “immiscible temporalities” that strain against the modern concept of homogeneous time. In this wide-ranging study—encompassing Asian American video (On Cannibalism), ghost films from the New Cinema movements of Hong Kong and the Philippines (Rouge, Itim, Haplos), Hollywood remakes of Asian horror films (Ju-on, The Grudge, A Tale of Two Sisters) and a Filipino horror film cycle on monstrous viscera suckers (Aswang)—Lim conceptualizes the fantastic as a form of temporal translation. The fantastic translates supernatural agency in secular terms while also exposing an untranslatable remainder, thereby undermining the fantasy of a singular national time and emphasizing shifting temporalities of transnational reception. Lim interweaves scholarship on visuality with postcolonial historiography. She draws on Henri Bergson’s understanding of cinema as both implicated in homogeneous time and central to its critique, as well as on postcolonial thought linking the ideology of progress to imperialist expansion. At stake in this project are more ethical forms of understanding time that refuse to domesticate difference as anachronism. While supernaturalism is often disparaged as a vestige of primitive or superstitious thought, Lim suggests an alternative interpretation of the fantastic as a mode of resistance to the ascendancy of homogeneous time and a starting-point for more ethical temporal imaginings.

Kenneth Williams was the stand-out comic actor of his generation. Beloved as the manic star of Carry On films and as a peerless raconteur on TV chat shows, he was also acclaimed for serious stage roles. Born Brilliant will include much previously unseen material from Williams's candid daily journal and also draw on rare in-depth interviews with friends and colleagues. Since the publication of edited extracts from his diaries, much controversy has surrounded Williams's personal and professional lives. This biography traces the complex contradictions that characterised an extraordinary life and presents the first full portrait of a star who was born brilliant.

On cover: A critical checklist of more than 1600 must-see midnight movies, classics, silents, epics, camp favorites, cult picks, sleepers, video smashes, and more.

By Amos Vogel. Foreword by Scott MacDonald.