Perdita Durango

Bad girl Perdita Durango and her dealer boyfriend Romeo Dolorosa get their kicks on a journey from Louisiana to Los Angeles that involves santeria rituals and kidnapping.

This study explores how five major directors—Pedro Almodóvar, Alejandro Amenábar, Alex de la Iglesia, Guillermo del Toro, and Juan José Campanella—modeled their early careers on Hitchcock and his film aesthetics. In shadowing Hitchcock, their works embraced the global aspirations his movies epitomize. Each section of the book begins with an extensive study, based on newspaper accounts, of the original reception of Hitchcock's movies in either Spain or Latin America and how local preferences for genre, glamour, moral issues, and humor affected their success. The text brings a new approach to world film history, showcasing both the commercial and artistic importance of Hitchcock in Spain and Latin America

When the ravishing Tex-Mex femme fatale Perdita Durango and her small-time drug-dealing boyfriend, Romeo Dolorosa, pull out of Texas with two cute white hostages in the cab and a boatload of heroin in the trunk, no one is safe from Galveston to Los Angeles.

Whether defined by comic excesses, cult horrors, or surreal vampire experimentations, trash and exploitation cinema represents the alternative face of European film. Although extremely popular with post-war audiences, these historically significant traditions of 'Eurotrash' have often been ridiculed or ignored by an established film criticism eager to define 'legitimate' European cinema as either avant-garde or socially realist. Alternative Europe: Eurotrash and Exploitation Cinema Since 1945 investigates these previously under-explored national traditions of film culture, with essays and festival reports uncovering the social and cultural trends and tensions within a wide range of European exploitation movies. The volume considers such engaging and challenging topics as Russian, Belgian and Italian horror cinema, Gothic musclemen movies, Nazi 'sexploitation' cycles, German erotic cinema and 1970s European 'rogue cop' thrillers. Alternative Europe also includes interviews with trash directors and icons such as Brian Yuzna, J'rg Buttgereit and Giovanni Lombardo Radice.

The first book in English about Álex de la Iglesia, critically acclaimed former protégé of Pedro Almodóvar, and one of the highest grossing directors in Spain and Latin America. De la Iglesia's cinema is representative of a new generation of Spanish and European directors who combine avant-garde strategies with forms such as comedy and horror.

The Imagination of the Heart is the final chapter in the saga of Sailor Ripley and Lula Pace Fortune, the "Romeo and Juliet of the Deep South." Their story began in Barry Gifford's novel Wild at Heart, which in 1990 was made into a Palme d'Or–winning feature film by David Lynch. Following Sailor’s death at the age of sixty-five in New Orleans, Lula moved back to her home state of North Carolina. This novel begins fifteen years later when Lula, at age eighty, decides to write a memoir in diary form, reflecting on her life with Sailor while also keeping a journal describing her last road trip: a journey with Beany Thorn, her best friend since childhood, back to New Orleans. Like a contemporary book of Revelations, dutifully recorded by Lula as a dialogue between self and soul, it becomes a bittersweet, often dangerous journey into the imagination of the heart, and what may lie beyond. Also included in this edition is "The Truth is in the Work," a conversation between Barry Gifford and Noel King which delves into a range of topics, from Gifford’s early publishing experiences to his film projects and to professional sports.

On the twentieth anniversary of the publication of Barry Gifford's international bestseller, Wild at Heart, as well as the anniversary of the Palme d'Or–winning film adaptation by director David Lynch, Sailor & Lula: The Complete Novels presents all of the novels and novellas that comprise the saga of Sailor Ripley and Lula Pace Fortune, "the Romeo and Juliet of the South": Wild at Heart, Perdita Durango (also made into a feature film), Sailor’s Holiday, Sultans of Africa, Consuelo’s Kiss, Bad Day for the Leopard Man, and The Imagination of the Heart.

Combining a diverse range of case studies with discussion between leading scholars in star studies and transnational cinema, this book analyzes stars as sites of cross-cultural contestation and the essays in this collection explore how the plasticity of stars helps disparate peoples manage the shifting ideologies of a transnational world.