The Hills Have Eyes

'The Hills Have Eyes - The Beginning' tells for the first time the epic origin story behind Wes Craven's classic tale of mutant carnage, leading into and bridging the gap between the 2006 remake of 'The Hills Have Eyes' and its sequel, 'The Hills Have Eyes 2'. Written by storytellers Jimmy Palmiotti (Painkiller Jane) and Justin Gray (Countdown) with shocking art by John Higgins (Judge Dredd, War Stories), this is mutant mayhem as you've never seen it before.

Horror films have exploded in popularity since the tragic events of September 11, 2001, many of them breaking box-office records and generating broad public discourse. These films have attracted A-list talent and earned award nods, while at the same time becoming darker, more disturbing, and increasingly apocalyptic. Why has horror suddenly become more popular, and what does this say about us? What do specific horror films and trends convey about American society in the wake of events so horrific that many pundits initially predicted the death of the genre? How could American audiences, after tasting real horror, want to consume images of violence on screen? Horror after 9/11 represents the first major exploration of the horror genre through the lens of 9/11 and the subsequent transformation of American and global society. Films discussed include the Twilight saga; the Saw series; Hostel; Cloverfield; 28 Days Later; remakes of The Texas Chainsaw Massacre, Dawn of the Dead, and The Hills Have Eyes; and many more. The contributors analyze recent trends in the horror genre, including the rise of 'torture porn,' the big-budget remakes of classic horror films, the reinvention of traditional monsters such as vampires and zombies, and a new awareness of visual technologies as sites of horror in themselves. The essays examine the allegorical role that the horror film has held in the last ten years, and the ways that it has been translating and reinterpreting the discourses and images of terror into its own cinematic language.

Sitting on pins and needles, anxiously waiting to see what will happen next, horror audiences crave the fear and exhilaration generated by a terrifying story; their anticipation is palpable. But they also breathe a sigh of relief when the action is over, when they are able to close their books or leave the movie theater. Whether serious, kitschy, frightening, or ridiculous, horror not only arouses the senses but also raises profound questions about fear, safety, justice, and suffering. From literature and urban legends to film and television, horror’s ability to thrill has made it an integral part of modern entertainment. Thomas Fahy and twelve other scholars reveal the underlying themes of the genre in The Philosophy of Horror. Examining the evolving role of horror, the contributing authors investigate works such as Mary Shelley’s Frankenstein (1818), horror films of the 1930s, Stephen King’s novels, Stanley Kubrick’s adaptation of The Shining (1980), and Alfred Hitchcock’s Psycho (1960). Also examined are works that have largely been ignored in philosophical circles, including Truman Capote’s In Cold Blood (1965), Patrick Süskind’s Perfume (1985), and James Purdy’s Narrow Rooms (2005). The analysis also extends to contemporary forms of popular horror and “torture-horror” films of the last decade, including Saw (2004), Hostel (2005), The Devil’s Rejects (2005), and The Hills Have Eyes (2006), as well as the ongoing popularity of horror on the small screen. The Philosophy of Horror celebrates the strange, compelling, and disturbing elements of horror, drawing on interpretive approaches such as feminist, postcolonial, Marxist, and psychoanalytic criticism. The book invites readers to consider horror’s various manifestations and transformations since the late 1700s, probing its social, cultural, and political functions in today’s media-hungry society.

Set in the American Southwest, "desert terror" films combine elements from horror, film noir and road movies to tell stories of isolation and violence. For more than half a century, these diverse and troubling films have eluded critical classification and analysis. Highlighting pioneering filmmakers and bizarre production stories, the author traces the genre's origins and development, from cult exploitation (The Hills Have Eyes, The Hitcher) to crowd-pleasing franchises (Tremors, From Dusk Till Dawn) to quirky auteurist fare (Natural Born Killers, Lost Highway) to more recent releases (Bone Tomahawk, Nocturnal Animals). Rare stills, promotional materials and a filmography are included.

A NEW YORK TIMES NOTABLE BOOK OF THE YEAR A WASHINGTON POST NOTABLE BOOK OF THE YEAR ONE OF BARACK OBAMA'S FAVORITE BOOKS OF THE YEAR ONE OF NPR'S BEST BOOKS OF 2020 LONGLISTED FOR THE 2020 BOOKER PRIZE FINALIST FOR THE 2020 CENTER FOR FICTION FIRST NOVEL PRIZE WINNER OF THE ROSENTHAL FAMILY FOUNDATION AWARD, FROM THE AMERICAN ACADEMY OF ARTS AND LETTERS A NATIONAL BOOK FOUNDATION "5 UNDER 35" HONOREE NATIONAL BESTSELLER “Belongs on a shelf all of its own.” —NPR “Outstanding.” —The Washington Post “Revolutionary . . . A visionary addition to American literature.” —Star Tribune An electric debut novel set against the twilight of the American gold rush, two siblings are on the run in an unforgiving landscape—trying not just to survive but to find a home. Ba dies in the night; Ma is already gone. Newly orphaned children of immigrants, Lucy and Sam are suddenly alone in a land that refutes their existence. Fleeing the threats of their western mining town, they set off to bury their father in the only way that will set them free from their past. Along the way, they encounter giant buffalo bones, tiger paw prints, and the specters of a ravaged landscape as well as family secrets, sibling rivalry, and glimpses of a different kind of future. Both epic and intimate, blending Chinese symbolism and reimagined history with fiercely original language and storytelling, How Much of These Hills Is Gold is a haunting adventure story, an unforgettable sibling story, and the announcement of a stunning new voice in literature. On a broad level, it explores race in an expanding country and the question of where immigrants are allowed to belong. But page by page, it’s about the memories that bind and divide families, and the yearning for home.

1944. After the fall of Russia and the failed D-Day landings, half of Britain is occupied . . . Young farmer's wife Sarah Lewis wakes to find her husband has disappeared, along with all of the men from her remote Welsh village.A German patrol arrives in the valley, the purpose of their mission a mystery. Sarah begins a faltering acquaintance with the patrol's commanding officer, Albrecht, and it is to her that he reveals the purpose of his mission - to claim an extraordinary medieval art treasure that lies hidden in the valley. But as the pressure of the war beyond presses in on this isolated community, this fragile state of harmony is increasingly threatened.

In this new series, set in the bestselling world of Valdemar, Heralds Mags and Amily must continue to protect the realm of Valdemar while raising their children and preparing them to follow in their footsteps. Mags, Herald Spy of Valdemar, and his wife, Amily, the King’s Own Herald, are happily married with three kids. The oldest, Peregrine, has the Gift of Animal Mindspeech—he can talk to animals and persuade them to act as he wishes. Perry's dream is to follow in his father's footsteps as a Herald Spy, but he has yet to be Chosen by a Companion. Mags is more than happy to teach Perry all he knows. He regularly trains his children, including Perry, with tests and exercises, preparing them for the complicated and dangerous lives they will likely lead. Perry has already held positions in the Royal Palace as a runner and in the kitchen, useful places where he can learn to listen and collect information. But there is growing rural unrest in a community on the border of Valdemar. A report filled with tales of strange disappearances and missing peddlers is sent to Haven by a Herald from the Pelagirs. To let Perry experience life away from home and out in the world, Mags proposes that his son accompany him on an expedition to discover what is really going on. During their travels, Perry’s Animal Mindspeech allows him to communicate with the local wildlife of the Pelagirs, whose connection to the land aids in their investigation. But the details he gleans from the creatures only deepen the mystery. As Perry, Mags, and their animal companions draw closer to the heart of the danger, they must discover the truth behind the disappearances at the border—before those disappearances turn deadly.

'Without the networks of the French Resistance, the invasion would not have been possible' Major General Walter Bedell Smith, Chief of Staff, Supreme Headquarters Allied Expeditionary Force Days after France fell in June 1940, Charles de Gaulle appointed André Dewavrin to create, from scratch, the Free French Intelligence Service. Recruiting agents among the sailors, farmers, painters, housewives and children of Occupied France, he managed cells of spies across the country, and focused their attention on one goal: preparing for the Allied invasion of France, even at the risk of torture and death. Hitler’s fortifications along the European coastline – known as the Atlantic Wall – were their target. Gun battery locations, troop movements, and more... All this information was funnelled back to the Allies by a network of brave individuals, creating a living map that became essential to the planning of D-Day, and the selection of Normandy as the invasion point. Using a wealth of material both published and unpublished, including interviews with Dewavrin and de Gaulle himself, Collier has produced an authentic record of one of the most remarkable episodes of the Second World War; a human story of a group of ordinary people whose faith paved the way for Eisenhower’s great sweep across Europe. Perfect for readers of Antony Beevor and Max Hastings.