Dissecting Cannibal Holocaust

Since its 1980 release, the Italian horror film Cannibal Holocaust has shocked viewers and provoked censors with its graphic imagery and unrelenting nihilism. Following a summary of the story and the controversy over its release, Dissecting Cannibal Holocaust examines the film’s relevance to cinematic and literary history, anthropology, nature studies, ethics and censorship, media and journalism, documentary filmmaking, representations of cannibalism and post-colonialism, and genre cinema. The book also addresses some of the most frequent criticisms of Cannibal Holocaust including its depictions of native people and the inclusion of real-life animal killings. Matching the audacity of the film itself, Dissecting Cannibal Holocaust makes provocative arguments about the influence of corporate media, the purpose of art, the relationship between industrialized and indigenous people, the amorality of nature, and the roots of violence.

Dissecting the Holocaust applies state-of-the-art scientific technique and classic methods of detection to investigate the alleged murder of millions of Jews by Germans during World War II. Among the questions raised and considered by the authors, each a specialist in a historical, scientific, technological, or legal discipline: How reliable are the claims of the eyewitnesses -- or the confessions of the alleged perpetrators? What do population statistics reveal about the probable number of Jewish casualities under Nazi rule? How strong is the evidence for murder in "gas vans"? Do photographs that seem to show Nazi crimes actually document them? What do wartime Allied aerial photographs of the camps reveal about the alleged massacres? Why are Bergen-Belsen and Buchenwald no longer classed as extermination camps, even by Holocaust true believers? What do the long-suppressed Auschwitz camp records, recently unearthed in the Moscow state archives, disclose about murder by gas at the most notorious "death camp"? Did the technology to gas millions, then incinerate their corpses with scarcely a trace, exist during World War II? Did German soldiers shoot hundreds of thousands of innocents behind the Russian front? Most important of all, dare one doubt what society has declared to be self-evident? Book jacket.

In this edited collection exploring Disney’s dark side, attention to Disney’s Gothic reveals the ways through which Disney productions construct and reinforce conceptions of normalcy and deviance in relation to shifting understandings of morality, social roles, and identity categories.

Catholic Horror on Television: Haunting Faith explores the significant intersection of horror media and the Catholic Church. Religious themes enjoy a long history in film and television, with narratives featuring the supernatural, science fiction, and horror making use of Roman Catholicism in particular. The horror genre frequently tells fantastic stories about the mysteries that we seek to understand, helping to come to terms with the destructive and the monstrous. This book analyzes the genre of Catholic horror in the current television and streaming media environment, exploring its treatment of physical mortality, the metaphysics of meaning, and morality. Catholic Horror on Television: Haunting Faith offers a fresh take on how television and streaming horror series critique, expand, and interrogate Catholicism and its place in the modern world. In doing so, this book contributes to conversations in several disciplines including media, cultural, television, and religious studies.

DIVCollection of essays on the impact that non-mainstream and middlebrow film genres have had on popular culture--including sexploitation, horror, cult, XXX, and indie films./div

Cannibal Holocaust is one of the most controversial horror films ever made. Despite not achieving huge success when it was first released, the Italian production found an audience on home video in the 1980s and became a 'must-see' for connoisseurs of extreme cinema. Indeed, Cannibal Holocaust's foremost legacy is in the United Kingdom, where it obtained its reputation as one of the most harrowing and offensive 'video nasties' – a term used to refer to a group of films deemed to be 'obscene' by the Department of Public Prosecutions. However, as the years have progressed, Cannibal Holocaust has been re-evaluated, mainly as the forefather of the 'found footage' film, and recent home video re-releases have added some valuable perspective to the onscreen violence with extensive cast and crew interviews. What is missing from this contemporary activity is contextualization of Cannibal Holocaust's style, affirmation and discussion of its locations and any extensive discourse about its representation of third world inhabitants (i.e. as 'primitives'). In addition, and also amiss from previous dialogue on the production, is that Cannibal Holocaust can be seen as one of the key post-Vietnam films. It is the spectre of war – and an explicit warning about Western involvement in civil conflict – which progresses Deodato's story of jungle adventurers in peril. By approaching the film from a more formalist position, this Devil's Advocate provides an insightful discussion of this groundbreaking film.

In Off Key, Kay Dickinson offers a compelling study of how certain alliances of music and film are judged aesthetic failures. Based on a fascinating and wide-ranging body of film-music mismatches, and using contemporary reviews and histories of the turn to post-industrialization, the book expands the ways in which the union of the film and music businesses can be understood. Moving beyond the typical understanding of film music that privileges the score, Off Key also incorporates analyses of rock 'n' roll movies, composer biopics, and pop singers crossing over into acting. By doing this, it provides a fuller picture of how two successful entertainment sectors have sought out synergistic strategies, ones whose alleged "failures" have much to tell about the labor practices of the creative industries, as well as our own relationship to them and to work itself. A provocative and politically-conscious look at music-image relations, Off Key will appeal to students and scholars of film music, cinema studies, media studies, cultural studies, and labor history.

In 1988, self-styled "engineer" Fred Leuchter set out for Auschwitz with the idea of proving that the Holocaust never happened. Once there, he clandestinely took samples from sites where more than a million Jews were gassed with hydrogen cyanide. After smuggling the samples out of Poland, he had them analyzed, found no cyanide residues & published the notorious LEUCHTER REPORT, in which he declared to the world that there were no execution gas chambers at Auschwitz. Result: from that time to the present, neo-Nazis & their sympathizers have used this argument to bamboozle the ignorant into doubting the Holocaust. THE LEUCHTER REPORT: A DISSECTION is a devastating, point-by-point rebuttal of Leuchter's arguments, written in a non-technical style that is easy to understand. Available from 21st Century Logic, 150 E. Whitestone #148-329, Cedar Park, TX 78613. (512) 259-0730. Mail order price: $9.95 plus $1.50 S/H. Discounts available to retailers & wholesalers.