Muscles In The Movies

John Fair and David Chapman tell the story of how filmmakers use and manipulate the appearance and performances of muscular men and women to enhance the appeal of their productions. The authors show how this practice, deeply rooted in western epistemological traditions, evolved from the art of photography through magic lantern and stage shows into the motion picture industry, arguing that the sight of muscles in action induced a higher degree of viewer entertainment. From Eugen Sandow to Dwayne “The Rock” Johnson, muscular actors appear capable of performing the miraculous, and with the aid of stuntmen and filming contrivances, they do. By such means, muscles are used to perfect the art of illusion, inherent in movie-making from its earliest days.

The first book to take an exclusive, in-depth look at the beefcake "Hercules" genre of movies that started with Steve Reeves & ended with Arnold Schwarzenegger as he began his movie career. These films have always had a major film cult following but nothing has been available to the fans up till now. Complete & detailed story synopsis's are given for most of the films, including the original "Hercules," "Samson," "Goliath & the Dragon," "Mole Men against the Son of Hercules," & many, many more. Detailed reviews are written with a fair criteria but by a fan who knows that others who enjoy the genre have been waiting for a positive appreciation of these films. Also included are credit & production notes, biographical info on the stars & unique "Hercules Legends" that lets fans instantly know the quality of the films' four most popular features: "Beefcake," "Monsters," "Love Interest," "Action." For ordering information write Stephen Weakley, c/o Rabbit's Garage, 202 Basswood, Elk Grove Village, IL 60007. (708) 439-4884.

Few movie genres have highlighted the male body more effectively than the “sword-and-sandal” film, where the rippling torso and the bulging muscle are displayed for all to appreciate. Carrying his phallic sword and dressed in traditional garb calculated to bring attention to his magnificent physique, the sword-and-sandal hero is capable of toppling great nations, rescuing heroines, defeating monsters, and generally saving the day. Each of these essays examines the issues of masculinity and utility addressed in the sword-and-sandal genre. The contributors offer insights on a film form which showcases its male protagonists as heroic, violent, fleshy, and, in the end, extremely useful.

An authoritative guide to the action-packed film genre With 24 incisive, cutting-edge contributions from esteemed scholars and critics, A Companion to the Action Filmprovides an authoritative and in-depth guide to this internationally popular and wide-ranging genre. As the first major anthology on the action film in more than a decade, the volume offers insights into the genre’s historical development, explores its production techniques and visual poetics, and provides reflections on the numerous social, cultural, and political issues it has and continues to embody. A Companion to the Action Film offers original research and critical analysis that examines the iconic characteristics of the genre, its visual aesthetics, and its narrative traits; considers the impact of major directors and stars on the genre’s evolution; puts the action film in dialogue with various technologies and other forms of media such as graphic novels and television; and maps out new avenues of critical study for the future. This important resource: Offers a definitive guide to the action film Contains insightful contributions from a wide range of international film experts and scholars Reviews the evolution of the genre from the silent era to today’s age of digital blockbusters Offers nuanced commentary and analysis of socio-cultural issues such as race, nationality, and gender in action films Written for scholars, teachers and students in film studies, film theory, film history, genre studies, and popular culture, A Companion to the Action Film is an essential guide to one of international cinema’s most important, popular, and influential genres.

The first editon was called “the most valuable film reference in several years” by Library Journal. The new edition published in hardcover in 2001 includes more than 670 entries. The current work is a paperback reprint of that edition. Each entry contains a mini-essay that defines the topic, followed by a chronological list of representative films. From the Abominable Snowman to Zorro, this encyclopedia provides film scholars and fans with an easy-to-use reference for researching film themes or tracking down obscure movies on subjects such as suspended animation, viral epidemics, robots, submarines, reincarnation, ventriloquists and the Olympics (“Excellent” said Cult Movies). The volume also contains an extensive list of film characters and series, including B-movie detectives, Western heroes, made-for-television film series, and foreign film heroes and villains.

The Pulitzer Prize–winning film critics offers up more reviews of horrible films. Roger Ebert awards at least two out of four stars to most of the more than 150 movies he reviews each year. But when the noted film critic does pan a movie, the result is a humorous, scathing critique far more entertaining than the movie itself. I Hated, Hated, Hated This Movie is a collection of more than 200 of Ebert’s most biting and entertaining reviews of films receiving a mere star or less from the only film critic to win the Pulitzer Prize. Ebert has no patience for these atrocious movies and minces no words in skewering the offenders. Witness: Armageddon * (1998)—The movie is an assault on the eyes, the ears, the brain, common sense, and the human desire to be entertained. No matter what they’re charging to get in, it’s worth more to get out. The Beverly Hillbillies * (1993)—Imagine the dumbest half-hour sitcom you’ve ever seen, spin it out to ninety-three minutes by making it even more thin and shallow, and you have this movie. It’s appalling. North no stars (1994)—I hated this movie. Hated hated hated hated hated this movie. Hated it. Hated every simpering stupid vacant audience-insulting moment of it. Hated the sensibility that thought anyone would like it. Hated the implied insult to the audience by its belief that anyone would be entertained by it. Police Academy no stars (1984)—It’s so bad, maybe you should pool your money and draw straws and send one of the guys off to rent it so that in the future, whenever you think you’re sitting through a bad comedy, he could shake his head, chuckle tolerantly, and explain that you don't know what bad is. Dear God * (1996)—Dear God is the kind of movie where you walk out repeating the title, but not with a smile. The movies reviewed within I Hated, Hated, Hated This Movie are motion pictures you’ll want to distance yourself from, but Roger Ebert’s creative and comical musings on those films make for a book no movie fan should miss.

Covers the field of EAP with attention to all aspects and full infrastructure, including the available materials, analytical models, processing techniques, and characterization methods. This second edition covers advances in EAP in electric EAP, electroactive polymer gels, ionomeric polymer-metal composites, and carbon nanotube actuators.

Core health prevents injuries, improves athletic performance and helps rehabilitation. Whether you are a personal trainer, strength coach or rehabilitation professional, this book covers various aspects of core training, from basic to advanced core exercises, stretches and plyometrics.