AFTRS Library New Titles. On display 26 October to 7 December 2018: New Books

In-depth analysis of Argento's narratives reveals an occult undercurrent seething with abjection, compulsion, paranoia, schizophrenia and sexual psychosis; A Complex of Carnage reveals and explores this buried syndrome of manias in four separate essays and is illustrated with over 80 illuminating photographic images, including 40 in stunning full colour.

In Paris, Hannah, a journalist, investigates the strange case of a famous French intellectual couple: the wife has been killed and apparently eaten, and the husband has disappeared. Meanwhile, Hannah's partner Nathan is reporting on a renegade Hungarian doctor's new cure for cancer.

The stylistic and bloody excesses of the films of Dario Argento are instantly recognisable. Vivid, baroque and nightmarish, his films picture violent deaths in a twisted embrace with an almost sexual beauty. Hailed as one of horror cinema's most significant pioneers, Argento continues to create inimitable and feverishly violent films. His work has influenced the likes of Tarantino and Scorsese and his mastery of the genre is confirmed with his production of celebrated classics such as George A. Romero's Dawn of the Dead.

Approaching Argentos films as rhetorical statements made through extremes of sound and vision, Cooper places Argento in a tradition of aestheticized horror that includes De Sade, De Quincey, Poe, and Hitchcock. Analyzing individual images and sequences as well as larger narrative structures, he reveals how the director's stylistic excesses, often condemned for glorifying misogyny and other forms of violence, offer productive resistance to the cinema's visual, narrative, and political norms.

Internationally renowned writer, broadcaster and author Alan Jones has tirelessly reported on every aspect of Dario Argento's career for more than three decades. Every single feature, review, interview and in-depth look at Argento's multifaceted universe has been meticulously collated into this stunning volume.

Contemporary horror cinema reflects and exploits the anxieties of our age in its increasing use of hand-held techniques and in its motifs of surveillance, found footage (fictional films that appear 'real': comprising discovered video recordings left behind by victims/ protagonists) and 'digital haunting' (when ghosts inhabit digital technologies). This book explorers the digital horror film phenomenon.

In the 1950s, "Euro Horror" movies materialized in astonishing numbers from Italy, Spain, and France. Gorier, sexier, and stranger than most American horror films of the time, they were embraced by hardcore fans and denounced by critics. In this volume, Olney explores some of the most popular genres of Euro Horror cinema including giallo films, named for the yellow covers of Italian pulp fiction, the S&M horror film, and cannibal and zombie films and develops a theory that explains their renewed appeal to audiences today.

Found Footage Horror Films explores the subgenre's stylistic, historical and thematic development. It pays attention to the safety films of the 1960s, the snuff-fictions of the 1970s, and to television reality horror hoaxes and mockumentaries during the 1980s and 1990s. This book also explores a number of other movies.

To the public, Dahmer was a monster who committed unthinkable atrocities. To Derf Backderf, "Jeff" was a much more complex figure: a high school friend with whom he had shared classrooms, hallways, and car rides. In My Friend Dahmer, a haunting and original graphic novel, writer-artist Backderf creates a surprisingly sympathetic portrait of a disturbed young man struggling against the morbid urges emanating from the deep recesses of his psyche; a shy kid, a teenage alcoholic, and a goofball who never quite fit in.

This book retraces all the stages of making Suspiria, from test shots to printing. It describes in detail the cultural premises of this immortal work and the historical context of the struggle for innovation in the cinematography of the Seventies. Above all, it reveals Tovoli’s tireless search for an expressive use of color in films, providing us with a first-hand experience of an incredible adventure in aesthetics.

On June 12, 1968, prayers were answered. Rosemary's Baby hit American theatres. This book is a definitive illustrated history commemorating the 50th anniversary of this landmark picture, from director and casting choices to the kudos and condemnation it received upon its release.

Voluptuous Terrors collects 120 film posters by a wide range of acclaimed Italian artists, created for both indigenous and foreign-language film productions. Classic science fiction, pulp horror, and giallo movies all figure in full-color, full-page reproductions showcasing some of the worlds most innovative and seductive poster design.

Featuring the terror, humor, and sly documentary style Hooper devotees remember from such classics as The Texas Chainsaw Massacre, Midnight Movie is vintage Tobe Hooper, again demonstrating the director’s place as one of the godfathers of modern horror.