When A Stranger Calls

Rachel works at a suicide prevention center. Stuck in a loveless relationship with a man with OCD, she longs for something different. One night, she receives a call at the center from a strange man. He is distraught but not to the point of suicide. He describes what he wants in life and what he's missing. Soon they are talking every night and they develop a bond beyond that is strictly forbidden at the call center. Still, Rachel decides to meet the man...in secret...and finds herself in a world of danger...

Rachel works at a suicide prevention center. Stuck in a loveless relationship with a man with OCD, she longs for something different. One night, she receives a call at the center from a strange man. He is distraught but not to the point of suicide. He describes what he wants in life and what he's missing. Soon they are talking every night and they develop a bond beyond that is strictly forbidden at the call center. Still, Rachel decides to meet the man...in secret...and finds herself in a world of danger...

When A Stranger Calls by Kathleen Long released on Apr 11, 2006 is available now for purchase.

Horror films have always reflected their audiences' fears and anxieties. In the United States, the 2000s were a decade full of change in response to the 9/11 terrorist attacks, the contested presidential election of 2000, and the wars in Iraq and Afghanistan. These social and political changes, as well as the influences of Japanese horror and New French extremism, had a profound effect on American horror filmmaking during the 2000s. This filmography covers more than 300 horror films released in America from 2000 through 2009, including such popular forms as found footage, torture porn, and remakes. Each entry covers a single film and includes credits, a synopsis, and a lengthy critical commentary. The appendices include common horror conventions, a performer hall of fame, and memorable ad lines.

Style and Form in the Hollywood Slasher Film fills a broad scholastic gap by analysing the elements of narrative and stylistic construction of films in the slasher subgenre of horror that have been produced and/or distributed in the Hollywood studio system from its initial boom in the late 1970s to the present.

A new, philosophically grounded theory of the voice—the voice as the lever of thought, as one of the paramount embodiments of the psychoanalytic object. Plutarch tells the story of a man who plucked a nightingale and finding but little to eat exclaimed: "You are just a voice and nothing more." Plucking the feathers of meaning that cover the voice, dismantling the body from which the voice seems to emanate, resisting the Sirens' song of fascination with the voice, concentrating on "the voice and nothing more": this is the difficult task that philosopher Mladen Dolar relentlessly pursues in this seminal work. The voice did not figure as a major philosophical topic until the 1960s, when Derrida and Lacan separately proposed it as a central theoretical concern. In A Voice and Nothing More Dolar goes beyond Derrida's idea of "phonocentrism" and revives and develops Lacan's claim that the voice is one of the paramount embodiments of the psychoanalytic object (objet a). Dolar proposes that, apart from the two commonly understood uses of the voice as a vehicle of meaning and as a source of aesthetic admiration, there is a third level of understanding: the voice as an object that can be seen as the lever of thought. He investigates the object voice on a number of different levels—the linguistics of the voice, the metaphysics of the voice, the ethics of the voice (with the voice of conscience), the paradoxical relation between the voice and the body, the politics of the voice—and he scrutinizes the uses of the voice in Freud and Kafka. With this foundational work, Dolar gives us a philosophically grounded theory of the voice as a Lacanian object-cause.