Horrors: From Screen to Scream

Reference

Naha, Ed

Encyclopedias & Subject Guides

Avon/Books

With more than one hundred photographs, and interviews with Frank Herbert and members of the cast and crew, this book details the creation of an alien world in the Mexican desert

The Making of Dune

Humor & Entertainment

Berkley Trade

When Detective Jerry Beck sets out to track down a cop-killer, he comes face-to-face with an army of vicious white supremists whose warped view of what is rightfully theirs makes them willing to die for it

Dead-bang

Mystery, Thriller & Suspense

Mystery

BERKLEY

Making of "Dune"

Target Bks.

Murphy, a tough cop nearly killed by vicious Detroit street gangs, is transformed into Robocop, a part-man, part-machine, invincible crime-fighting weapon designed to stop the street crime plaguing the city

Robocop

Literature & Fiction

Genre Fiction

Dell Pub. Co.]

Jeff McQueen, a struggling writer who finds solace from the death of his young son in the bottle, must pull himself together when strange and menacing forces in a small New England town threaten his daughter

Breakdown

Dell

Ghostbusters II

The dauntless heroes who caused spines to tingle and ghosts to flee in the original "Ghostbusters" are back in fine form, wreaking havoc on the spirit wiorld as they set out to rescue Dana from further ghostly phenomena

Kate Winston senses the chilling presence of evil among the first-grade children at Belleville's exclusive Roth School, discovering that these menacing kids had been adopted after their natural parents had been killed in a bizarre fire

Orphans

Roger Corman was one of the first American independent filmmakers to create work entirely on his own terms and turf. Much like producer Val Lewton in the 1940s at RKO, where he created his series of sensuously atmospheric horror films in that studio's "B" unit, Corman, once the film's title and the subject matter had been approved, answered to no one but himself, with guaranteed distribution for the finished product, and immediate financing for his next project. He started out in the last days of the classic studio system, but soon broke away to make films on his own, functioning as producer and director on all his most important works. At American International Pictures, Corman worked in the depth of poverty row, but each of his films had an individual signature, in his aggressive dolly work (reminiscent of Samuel Fuller in Underworld USA [1961]), his moody, atmospheric lighting, and his brutal, charcoal-sketch graphics. In addition, he never condescended to his audiences, or dealt with his characters at a distance. In many of his early films, Corman chose to use CinemaScope for added production value, but the end result was something much more intense than the vision offered by his contemporary big studio filmmakers. Corman's ceaselessly moving camera grabbed his audience by the scruff of their collective necks and dragged them into the action, willing or not. Alone among his '50s contemporaries, with the exceptions of Ida Lupino and Don Siegel, Corman's vision was raw, uncompromising, and defiantly unpolished. Where Douglas Sirk's immaculate melodramas were triumphs of set design and colour coordination, Corman was more interested in visceral emotion and conflict, and knew that he had no time to waste. The world he was documenting would disappear, and Corman wanted to capture as much of it on film as possible, from beatnik cafes to biker gangs, before the parade moved on.

The films of Roger Corman: Brilliance on a budget

Arco Pub.

The Films of Roger Corman: Brilliance on a Budget

Olympic Marketing Corp

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