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REVISED AND up to date COLLECTOR'S version Cannibal Holocaust is broadly acclaimed as being one of many maximum horror video clips of all time; certainly this highly influential movie is so devastatingly powerful that it's always wrongly accused of being a 'Snuff' motion picture. This booklet is the totally accredited consultant to the superb movies of Ruggero Deodato, whose infamous masterpiece CANNIBAL HOLOCAUST is analysed intensive in addition to all his different videos, which come with condominium at the fringe of THE PARK, WAVES OF LUST, minimize AND RUN, final CANNIBAL global, BODYCOUNT, PHANTOM OF demise, THE BARBARIANS, DIAL: aid, THE ATLANTIS INTERCEPTORS and dwell LIKE A COP, DIE LIKE a guy. With career-spanning interviews, an in depth filmography, experiences of all his video clips and a beautiful choice of stills, ad-mats, infrequent posters and backstage pictures chosen from Ruggero Deodato's own assortment, this ebook is the definitive reference paintings on one in every of Italy's such a lot finished horror movie administrators. absolutely revised and up-to-date, with an additional sixteen pages of latest textual content and illustrations, and issued in hardback for the 1st time.
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DR. ALEXANDRA JUHASZ, Pitzer College, US I am a Professor of Media Studies at Pitzer College, teaching video production and media theory. My books include AIDS TV, Women of Vision, and F is for Phony (co-edited with Jesse Lerner). I produced Cheryl Dunye’s first person fake documentary feature films The Watermelon Woman (1995) and The Owls (2010) as well as my own autobiographical works on AIDS, feminist families and the Iraq War. I recently published an online born-digital ‘video-book’, Learning from YouTube (available for free from the MIT Press, 2011) about my experiences learning on and about YouTube with my students and day-to-day YouTubers.
3 For years after Trone died, I often recounted something of his story to friends, as a way of keeping his memory alive. In the course of time, I began to think of making a film about him but without the faintest idea of quite how to do it. One friend – a film producer who came up with the title I have now adopted – suggested a low-budget feature film and offered to raise the money, but I said no, I couldn’t do that, I couldn’t see myself fictionalising his life. Then two things happened which made a documentary film possible.
Most recently, I co-edited two volumes of essays: The Cause of Cosmopolitanism: Dispositions, Models, Transformations (with Patrick O’Donovan; Peter Lang, 2011) and Antonioni: Centenary Essays (with John David Rhodes; BFI, 2011). INTRODUCTION Alisa Lebow ‘The Cinema of Me’ is something of a deceptive title for a collection of essays about first person documentary films. Deceptive in that it preys on the all-too-readily accepted impression of first person films as self-absorbed, myopic, ego-driven films that only a mother could love, despite the fact that the films discussed in this book, almost without exception, defy such expectations.