Witches and witchcraft are potent metaphors for feminine power, with a history that predates the advent of cinema. The figure of the witch represents a particularly fraught, contested kind of gendered power, and has long inspired filmmakers to explore themes of race, class, trauma, motherhood, grief, and identity. This book examines the relationship between women, witchcraft, and filmmaking, exploring types of storytelling and the central themes in these movies. Such films span the globe and have starred prominent figures like Madonna, Bette Midler, Bjork, and Nicole Kidman, as well as lesser-known women behind the scenes. Some of these filmmakers have premiered their works at major film festivals, while others have produced content for television and video releases. While notable in their diversity, these movies share one crucial thing: they were all created by women in an industry broadly dominated by men.

Barry Riggs returns to his hometown in search of his brother, Matt, who has mysteriously disappeared. His house has been ransacked - and branded by the strange word LEBO, painted in blood on the bedroom wall. Despite having mixed feelings about his brother, Barry decides to do some detective work of his own. Along the way, Barry meets a young woman named Jennifer Brand, whom he had once treated with contempt because she suffered from a repulsive, crippling affliction. After some awkward moments, the two become friends, and together they begin to unravel the mystery. Stephen Mark Rainey is well known as editor of the acclaimed Deathrealm magazine, which ran from 1987 to 1997 and won numerous best magazine awards. Currently a resident of Greensboro, North Carolina, Mark lived in Chicago for several years during the 1980s and still considers the Windy City his second home.

Explores the rich history of angels in America from Spanish colonialism and Puritan culture to modern incarnations found on TV, in movies, in comic books, and on bumper stickers. Finds that Americans have constructed the "useful angel" as a servant of man rather than an agent of God.

This volume explores the proliferation of contemporary art that uses sequences of images to explore ideas of space, time, movement and duration. Etienne-Jules Marey, Eadweard Muybridge and other 'chronophotographers' first explored these ideas at the turn of the nineteenth century; since then chronophotography has been in the shadow of cinema, but now it is emerging once again in post-cinema practices, digital art and new experimental photography. At the beginning of the twenty-first century, artists have found that sequences offer new opportunities for exploring continuing issues regarding aesthetics that operate at the intersection of time and space.#13;#13;The book contains number of illustrated essays by international critics and theorists and discusses the work of a wide range of artists engaged in contemporary chronophotography. The introduction also uses insights from chronophotography to dispel the myth of persistence of vision.

"This critical analysis examines 45 films featuring "grande dames" in horror films. Included is a history of women in horror. Next is an exploration of Grande Dame Guignol films that have followed that landmark release, continuing into the present. The filmography includes cast, crew, reviews, synopses, production notes, recurring motifs and each role's effect on the star's career"--Provided by publisher.

This much-anticipated new edition builds upon the achievements of the first, taking stock of the many recent exciting developments in the field while retaining the historical coverage and depth of the original. The text is supported by over 250 illustrations, selected reading guides, and full bibliographies. Another unique feature of T"he Cinema Book "is its fifty-five sidebars that support the text with in-depth analysis and relevant information on over 350 films. This new edition will consolidate "The Cinema Book"'s position as the leading teaching aid in the field.