Cashiers Du Cinemart 18

Cashiers du Cinemart #18 marks the 20th anniversary issue of the infamous Detroit film zine. Featuring reviews, interviews, and essays on films from the sublime to the obscure. Regular contributors Skizz Cyzyk, Rich Osmond, Mike Malloy, and Mike Sullivan are back with looks at Corrupt, Eye of the Tiger, Earl Owensby, and casting decisions that almost were. Jim Donahue, Calum Syers, Scott Lefebvre, and Andrew Leavold have returned to give us pieces about Michael Powell, Ulli Lommel, Anthony Matthews, and Eddie Romero. Joshua Gravel provides another batch of movie reviews that go beyond the usual thumbs up/down tripe. This issue also features articles by first-time contributors Jay A. Gertzman, Heather Drain, Greg Goodsell, Marisa Young Mike Dereniewski, Ryan Sarnowski, Jared Case, Joe "Woodyanders" Wawrzyniak, and David Bertrand.

Cashiers du Cinemart 17 authors: Jef Burnham, Jason Coffman, Chris Cummins, Skizz Cyzyk, Jim Donahue, Ralph Elawani, Mike Faloon, Paul Freitag, Joshua Gravel, Josh Hadley, Kristy Jett, Zachary Kelley, Andrew Leavold, Scott Lefebvre, David MacGregor, Mike Malloy, Bob Moricz, Rich Osmond, James Sanford, Robert St. Mary, Mike Sullivan, Calum Syers, Dan Tabor, Don Takano, and Mike White with cover art by Tom Bagley. This issue boasts features about Filipino exploitation films, Chuck Vincent, Andy Sidaris, Gaspar Noé, Brad Dourif, and Pierre Maheu and more including interviews with Sid Haig, Keith Shapiro, Eli Craig, Louie Bonnano, Peter Filardi, and many more. And, don't miss appreciations of films as diverse as After Last Season, The Touch of Her Flesh, Blood Sucking Freaks, Dream Home, and Eat My Dust.

Providing a fresh angle on adaptation studies, this study looks at how avant-garde directors and filmmakers have treated literary works in distinct ways.

After several years of small roles and experimental screenwriting during his early career, Jack Nicholson got his big break in 1969 with Easy Rider. The next year Five Easy Pieces made him a star. Since then the 12-time Academy Award nominee has won Best Actor twice (One Flew Over the Cuckoo’s Nest and As Good as It Gets). This critical study examines each of Nicholson’s film roles, as well as his screenwriting and directorial efforts. Fascinating personal insights are provided through interviews with stars such as Mews Small, James Hong, Millie Perkins, Michael Margotta, Shirley Knight, Joe Turkel, Ed Nelson, Hazel Court, the Monkees, several Apollo astronauts, Hell’s Angel Sonny Barger, Peter Fonda, Bruce Dern, and many more.

Pulp According to David Goodis starts with six characteristics of 1950s pulp noir that fascinated mass-market readers, making them wish they were the protagonist, and yet feel relief that they were not. His thrillers are set in motion by suppressed guilt, sexual frustrations, explosions of violence, and the inaccessible nature of intimacy. Extremely valuable is a gangster-infested urban setting. Uniquely, Goodis saw a still-vibrant community solidarity down there. Another contribution was sympathy for the gang boss, doomed by his very success. He dramatizes all this in the stark language of the Philadelphia’s “streets of no return.” The book delineates the noir profundity of the author’s work in the context of Franz Kafka’s narratives. Goodis’ precise sense of place, and painful insights about the indomitability of fate, parallel Kafka’s. Both writers mix realism, the disorienting, and the dreamlike; both dwell on obsession and entrapment; both describe the protagonist’s degeneration. Tragically, belief in obligations, especially family ones, keep independence out of reach. Other elements covered in this critical analysis of Goodis’s work include his Hollywood script-writing career; his use of Freud, Arthur Miller, Faulkner and Hemingway; his obsession with incest; and his “noble loser’s” indomitable perseverance. Praise for PULP ACCORDING TO DAVID GOODIS: “This was a fascinating read. [Gertzman] appears as an expert not only on Goodis’s body of work but on the pulp era of fiction in general, mid-twentieth-century American history, Philadelphia history, literary analysis, and a litany of other subjects. The book is stylishly written and well designed for reaching a broader, nonacademic audience interested in the pulp’s history, role in American culture, and meaning. Frankly, the crime fiction community needs more books like this!” —Chris Rhatigan, editor, publisher, and writer of hard-boiled and noir literature “Jay Gertzman is one of those rare maverick critics with the courage to explore the dark alleys of American literature, and to report back with commendable honesty about what he has found. His book Pulp According to David Goodis is a perfect match of critic to author, and it belongs in the collections of universities hoping to be regarded as major.” —Michael Perkins, author of Evil Companions, Dark Matter, and The Secret Record: Modern Erotic Literature “The most comprehensive Goodis study yet. Gertzman culls the files, brings everything together and then some. Not only essential reading for all Goodis obsessives but an excellent introduction to one of noir’s greatest writers.” —Woody Haut, author Pulp Culture: Hard-boiled Fiction and the Cold War, Heartbreak and Vine, and Neon Noir: Contemporary American Crime Fiction