The Fifty Worst Movies of All Time PDF Download
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Author: Harry Medved
Publisher:
ISBN:
Category : Performing Arts
Languages : en
Pages : 296
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Book Description
Author: Harry Medved
Publisher:
ISBN:
Category : Performing Arts
Languages : en
Pages : 296
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Book Description
Author: Harry Medved
Publisher: Grand Central Pub
ISBN: 9780446381192
Category : Performing Arts
Languages : en
Pages : 288
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Book Description
Author:
Publisher:
ISBN:
Category :
Languages : en
Pages : 288
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Author: Ryan Uytdewilligen
Publisher: Rowman & Littlefield
ISBN: 1493063316
Category : Performing Arts
Languages : en
Pages : 265
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Book Description
Behold the history of a film so scandalous, so outrageous, so explosive it disappeared from print for over a quarter century! A film so dangerous, half its cast and crew met their demise bringing eccentric billionaire Howard Hughes’ final cinematic vision to life! Starring All-American legend John Wayne in full Fu Manchu make-up as Mongol madman Genghis Khan! Featuring sultry seductress Susan Hayward as his lover! This is the true story of The Conqueror (1956), the worst movie ever made. Filmed during the dark underbelly of the 1950s—the Cold War—when nuclear testing in desolate southwestern landscapes was a must for survival, the very same landscapes were where exotic stories set in faraway lands could be made. Just 153 miles from the St. George, Utah, set, nuclear bombs were detonated regularly at Yucca Flat and Frenchman Flat in Nevada, providing a bizarre and possibly deadly background to an already surreal moment in cinema history. This book tells the full story of the making of The Conqueror, its ignominious aftermath, and the radiation induced cancer that may have killed John Wayne and many others.
Author: Harry Medved
Publisher:
ISBN: 9789080038530
Category :
Languages : en
Pages : 0
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Author: Ernest Mathijs
Publisher: Routledge
ISBN: 1317362233
Category : Performing Arts
Languages : en
Pages : 976
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Book Description
The Routledge Companion to Cult Cinema offers an overview of the field of cult cinema – films at the margin of popular culture and art that have received exceptional cultural visibility and status mostly because they break rules, offend, and challenge understandings of achievement (some are so bad they’re good, others so good they remain inaccessible). Cult cinema is no longer only comprised of the midnight movie or the extreme genre film. Its range has widened and the issues it broaches have become battlegrounds in cultural debates that typify the first quarter of the twenty-first century. Sections are introduced with the major theoretical frameworks, philosophical inspirations, and methodologies for studying cult films, with individual chapters excavating the most salient criticism of how the field impacts cultural discourse at large. Case studies include the worst films ever; exploitation films; genre cinema; multiple media formats cult cinema is expressed through; issues of cultural, national, and gender representations; elements of the production culture of cult cinema; and, throughout, aspects of the aesthetics of cult cinema – its genre, style, look, impact, and ability to yank viewers out of their comfort zones. The Routledge Companion to Cult Cinema goes beyond the traditional scope of Anglophone and North American cinema by including case studies of East and South Asia, continental Europe, the Middle East, and Latin America, making it an innovative and important resource for researchers and students alike.
Author: Michael Sauter
Publisher: Citadel Press
ISBN:
Category : Performing Arts
Languages : en
Pages : 372
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Book Description
In this volume, entertainment journalist Michael Sauter exposes cinematic blunders.
Author: Matthew Strohl
Publisher: Routledge
ISBN: 1000512797
Category : Philosophy
Languages : en
Pages : 140
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Book Description
Most people are too busy to keep up with all the good movies they’d like to see, so why should anyone spend their precious time watching the bad ones? In Why It’s OK to Love Bad Movies, philosopher and cinematic bottom feeder Matthew Strohl enthusiastically defends a fondness for disreputable films. Combining philosophy of art with film criticism, Strohl flips conventional notions of "good" and "bad" on their heads and makes the case that the ultimate value of a work of art lies in what it can add to our lives. By this measure, some of the worst movies ever made are also among the best. Through detailed discussions of films such as Troll 2, The Room, Batman & Robin, Twilight, Ninja III: The Domination, and a significant portion of Nicolas Cage’s filmography, Strohl argues that so-called "bad movies" are the ones that break the rules of the art form without the aura of artistic seriousness that surrounds the avant-garde. These movies may not win any awards, but they offer rich opportunities for creative engagement and enable the formation of lively fan communities, and they can be a key ingredient in a fulfilling aesthetic life. Key Features: Written in a humorous, approachable style, appealing to readers with no background in philosophy. Elaborates the rewards of loving bad movies, such as forming unlikely social bonds and developing refinement without narrowness. Discusses a wide range of beloved bad movies, including Plan 9 from Outer Space, The Core, Battlefield Earth, and Freddy Got Fingered. Contains the most extensive discussion of Nicolas Cage ever included in a philosophy book.
Author: Howard Hughes
Publisher: Bloomsbury Publishing
ISBN: 0857717014
Category : Performing Arts
Languages : en
Pages : 304
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Book Description
The true story of the American West on film, through its shooting stars and the directors who shot them...Howard Hughes explores the Western, running from John Ford's "Stagecoach" to the revisionary "Tombstone". Writing with panache and fresh insight, he explores 27 key films, and draws on production notes, cast and crew biographies, and the films' box-office success, to reveal their place in western history. He shows how through reinvention and resurrection, this genre continually postpones the big adios and avoids ending up in Boot Hill...permanently. Major films covered include the best from genre giants John Ford, Howard Hawks and John Wayne, plus classics "High Noon", "Shane", "The Magnificent Seven" and "Butch Cassidy and the Sundance Kid". "Stagecoach to Tombstone" makes many more stops along the way, examining well-known blockbusters and lowly B-movie oaters alike. It examines comedy westerns, adventures 'south of the border', singing cowboys and the varied depiction of Native Americans on screen. Hughes also engagingly charts the genre's timely renovation by Sam Peckinpah ("Ride the High Country" and "The Wild Bunch"), Sergio Leone ("Once Upon a Time in the West") and Clint Eastwood ("The Outlaw Josey Wales" and "Unforgiven"). Presented too are the best of western trivia, a filmography of essential films - and ten aficionados and critics, including Alex Cox, Christopher Frayling, Philip French and Ed Buscombe, give their verdict on the best in the west.
Author: Claire Perkins
Publisher: SUNY Press
ISBN: 143844995X
Category : Performing Arts
Languages : en
Pages : 276
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Book Description
Considers films that lurk on the boundaries of acceptability in taste, style, and politics. B Is for Bad Cinema continues and extends, but does not limit itself to, the trends in film scholarship that have made cult and exploitation films and other low genres increasingly acceptable objects for critical analysis. Springing from discussions of taste and value in film, these original essays mark out the broad contours of badthat is, aesthetically, morally, or commercially disreputablecinema. While some of the essays share a kinship with recent discussions of B movies and cult films, they do not describe a single aesthetic category or represent a single methodology or critical agenda, but variously approach bad cinema in terms of aesthetics, politics, and cultural value. The volume covers a range of issues, from the aesthetic and industrial mechanics of low-budget production through the terrain of audience responses and cinematic affect, and on to the broader moral and ethical implications of the material. As a result, B Is for Bad Cinema takes an interest in a variety of film examplesoverblown Hollywood blockbusters, faux pornographic works, and European art house filmsto consider those that lurk on the boundaries of acceptability.
