This book compares production and consumption of Asian horror cinemas in different national contexts and their multidirectional dialogues with Hollywood and neighboring Asian cultures. Individual essays highlight common themes including technology, digital media, adolescent audience sensibilities, transnational co-productions, pan-Asian marketing techniques, and variations on good vs. evil evident in many Asian horror films. Contributors include Kevin Heffernan, Adam Knee, Chi-Yun Shin, Chika Kinoshita, Robert Cagle, Emilie Yeh Yueh-yu, Neda Ng Hei-tung, Hyun-suk Seo, Kyung Hyun Kim, and Robert Hyland.

Horror has never been hotter and this collection kills it by combining the genre with a sticker book featuring creepy monsters, haunted objects, all the gore, and more! Frightening eyes. Creepy clowns. Menacing skulls. And plenty of blood…it’s a killer collection of everything that makes a good scary story—but as stickers! The horror genre gets the sticker treatment with The Extreme Horror Sticker Book. With more than 500 stickers, fans of things that go bump in the night will be able to show off their darker side all day long. Put a poltergeist on a phone case, fangs on a planter, or splatter a laptop with blood. It’s up to the horror buff how to display their love for the macabre. Whether they’re fans of old-school monster films or modern slashers, enjoy a classic tale or stay up all night reading the genre’s latest bestseller, they’ll find exactly what they want to celebrate their fandom.

Spanning over twenty years, 20 masters and modern authors of hardcore horror share their most bad-ass stories in this special edition from Comet Press. Many hard to find and out of print, some that were banned, Necro Files covers every imaginable mode of mayhem including serial killers, necrophilia, cannibals, werewolves, zombies, sex fetishes, psychopaths, snuff, occult, and more stories that dial into the dark side of human nature. TABLE OF CONTENTS George R.R. Martin — "Meathouse Man" Joe R. Lansdale — "Night They Missed the Horror Show" Ronald Kelly — "Diary" Elizabeth Massie — "Abed" Randy Chandler & t. Winter-Damon — "I am He that Liveth and was Dead ... & Have the Keys of Hell & Death" Edward Lee — "Xipe" Ray Garton — "Bait" Gerard Houarner — "Painfreak" Wayne Allen Sallee — "Lover Doll" Charlee Jacob — "The Spirit Wolves" Brian Hodge — "Godflesh" John Everson — "Every Last Drop" Mehitobel Wilson — "Blind in the House of the Headsman" Monica J. O'Rourke — "An Experiment in Human Nature" Graham Masterton — "The Burgers of Calais" Nancy Kilpatrick — "Ecstasy" Bentley Little — "Pop Star in the Ugly Bar" Wrath James White — "The Sooner They Learn" JF Gonzalez — "Addict"

From Japanese horror to South Korean revenge thrillers, and from the new Hong Kong crime film to Thailand's boundary-breaking ghost stories, Western audiences have been stunned by a boom in challenging cult cinema from East Asia over the last decade. But how did this cycle of 'Extreme' Asian films gain such notoriety? How did distribution companies, journalists, critics and censors contribute to the rise of a new genre of forbidden foreign cinema?Extreme Asia: The Rise of Cult Cinema from the Far East charts the history of the recent cult Asian film invasion, covering a five-year period and focusing on the activities of the distribution company Tartan Films and their incredibly influential Asia Extreme brand. Through a series of case studies of individual releases and other exhibition events, this book examines strategies of film promotion and consumption in the context of differing theories about horror cinema, movie marketing, reception studies, and Orientalism. Covering the rise and fall of the Asia Extreme label, and the enduring legacy of an unforgettable wave of cult cinema, this is a comprehensive study of a film movement that has provoked passion and outrage in equal measure.

Received an Honorable Mention for the 2017 British Association of Film, Television and Screen Studies (BAFTSS) Best Monograph Award From Shortbus to Shame and from Oldboy to Irreversible, film festival premieres regularly make international headlines for their shockingly graphic depictions of sex and violence. Film critics and scholars alike often regard these movies as the work of visionary auteurs, hailing directors like Michael Haneke and Lars von Trier as heirs to a tradition of transgressive art. In this provocative new book, Mattias Frey offers a very different perspective on these films, exposing how they are also calculated products, designed to achieve global notoriety in a competitive marketplace. Paying close attention to the discourses employed by film critics, distributors, and filmmakers themselves, Extreme Cinema examines the various tightropes that must be walked when selling transgressive art films to discerning audiences, distinguishing them from generic horror, pornography, and Hollywood product while simultaneously hyping their salacious content. Deftly tracing the links between the local and the global, Frey also shows how the directors and distributors of extreme art house fare from both Europe and East Asia have significant incentives to exaggerate the exotic elements that would differentiate them from Anglo-American product. Extreme Cinema also includes original interviews with the programmers of several leading international film festivals and with niche distributors and exhibitors, giving readers a revealing look at how these institutions enjoy a symbiotic relationship with the “taboo-breakers” of art house cinema. Frey also demonstrates how these apparently transgressive films actually operate within a strict set of codes and conventions, carefully calibrated to perpetuate a media industry that fuels itself on provocation.

This book explores the range and dynamism of contemporary Asian cinemas, covering East Asia (China, Japan, South Korea, Hong Kong, Taiwan), Southeast Asia (Thailand, Singapore, Malaysia), South Asia (Bollywood), and West Asia (Iran), in order to discover what is common about them and to engender a theory or concept of "Asian Cinema". It goes beyond existing work which provides a field survey of Asian cinema, probing more deeply into the field of Asian Cinema, arguing that Asian Cinema constitutes a separate pedagogical subject, and putting forward an alternative cinematic paradigm. The book covers "styles", including the works of classical Asian Cinema masters, and specific genres such as horror films, and Bollywood and Anime, two very popular modes of Asian Cinema; "spaces", including artistic use of space and perspective in Chinese cinema, geographic and personal space in Iranian cinema, the private "erotic space" of films from South Korea and Thailand, and the persistence of the family unit in the urban spaces of Asian big cities in many Asian films; and "concepts" such as Pan-Asianism, Orientalism, Nationalism and Third Cinema. The rise of Asian nations on the world stage has been coupled with a growing interest, both inside and outside Asia, of Asian culture, of which film is increasingly an indispensable component - this book provides a rich, insightful overview of what exactly constitutes Asian Cinema.

Extreme Cinema examines the highly stylized treatment of sex and violence in post-millennial transnational cinema, where the governing convention is not the narrative but the spectacle. Using profound experiments in form and composition, including jarring editing, extreme close-ups, visual disorientation and sounds that straddle the boundary between non-diegetic and diegetic registers, this mode of cinema dwells instead on the exhibition of intense violence and an acute intimacy with the sexual body. Interrogating works such as Wetlands and A Serbian Film, as well as the sub-culture of YouTube 'reaction videos', Aaron Michael Kerner and Jonathan L. Knapp demonstrate the way content and form combine in extreme cinema to affectively manipulate the viewing body.

Using paratextual theory to address the accusations of gimmickry often directed towards extreme art films, Cultivating Extreme Art Cinema focuses upon the DVD and Blu-ray object, analysing how sleeve designs, blurbs, and special features shape the identity of the film.

*Warning* This book contains graphic materials that some may not find suitable. Read at your own risk. Amber was tired of her life. She was with an abusive boyfriend who couldn’t stop cheating on her. She had a physical disability, and her mental health was rapidly declining. Amber decides it’s time to end it all. However, before she does, Andrew blindsides her with a cruel and calculated move that destroys her world. Suddenly, Amber finds herself immersed in a journey to undo the damage Andrew has caused. She meets Yeema, a powerful monk, and falls in love with him. However, Yeema is not who he says he is, and what he had planned for Amber makes what Andrew did seem like child play. How will Amber survive, or will her blind love end her?

This volume re-evaluates theories of genre and spectatorship in light of a critic-defined tendency in recent art cinema, coined ‘extreme cinema’. In Genre Trouble and Extreme Cinema, Bordun argues that the films of Mexican director Carlos Reygadas and French director Catherine Breillat expand generic classifications. Bordun contends that their films make it apparent that genre is not established prior to the viewing of a work but is recollected and assembled by spectators in ways that matter for them in both personal and experiential terms. The author deploys contemporary film theories on the senses, both phenomenological and affect theory, and partakes in close readings of the films’ forms and narratives. The book thus adds to the present literature on extreme cinema and film theory, yet sets itself apart by fully deploying genre theory alongside the methodological and stylistic approaches of Stanley Cavell, Vivian Sobchack, Laura U. Marks, and Eugenie Brinkema.