Bøger udgivet af 1984 Publishing

"Following his underground hit Eraserhead and critically acclaimed The Elephant Man, visionary filmmaker David Lynch set his sights on bringing Frank Herbert's beloved sci-fi novel Dune to the screen. The project had already vexed directors such as Alejandro Jodorowsky (El Topo) and Ridley Scott (Alien). But by the early '80s Universal Pictures was prepared to give Lynch the keys to the kingdom - and the highest budget in the studio's history at the time - so that he could lend his surrealistic chops to this sprawling story of feuding space dynasties. As the hot young filmmaker commanded a cast with 42 major speaking parts as well as a crew of 1,700 (plus over 20,000 extras) on 80 sets built on 8 sound stages in Mexico, what happened next became as wild, complex, and full of intrigue as Herbert's novel itself. Film writer Max Evry goes behind the erratic ride of David Lynch's Dune like never before, with a years-in-the-making oral history culled from a lineup of new interviews with the film's stars (Kyle MacLachlan, Sean Young, Virginia Madsen, etc.), creatives, film executives, and insiders - not to mention Lynch himself. David Lynch's Dune initially left many filmgoers and reviewers scratching their heads, most dismissing the film upon its initial release. However, four decades and a big-budget remake later, Lynch's Dune is finally poised to find its rightful place alongside the director's other masterpieces such as Blue Velvet and Mullholland Drive. Max Evry's A Masterpiece in Disarray takes you back to 1984 with the deepest dive yet into the cult classic that is David Lynch's Dune"-- Provided by publisher.

As featured in Fangoria, Movieweb, ComingSoon, Queerty, Rue Morgue, Yahoo News, Bloody Disgusting, and more!In 1983, Robert Hiltzik’s Sleepaway Camp was quickly disregarded by film reviewers. Variety called it a “tired version of teen oriented horror film formulas," The Philadelphia Enquirer "had more thrills untangling paper clips," and The Cincinnati Post branded it "more horrible than horrifying."But fans saw something different. Very different. 40 years since its release, the film’s unique blend of horror, tongue-in-cheek comedy, sexuality, and gender roles—along with an ending to end all endings, was seemingly ahead of its time. Sleepaway Camp is now discussed and debated more than when it was initially released.Longtime official Sleepaway Camp webmaster, writer, and filmmaker Jeff Hayes goes behind the scenes like never before, revealing the development and making of the film, its immediate aftermath, and the more than four decades of fandom since its release. This definitive Sleepaway Camp compendium includes interviews with much of the cast and crew (with many new exclusives), more than 75 production and memorabilia images (including previously unreleased on-set stills), and takes you backstage to the reunions, retro screenings, and convention events that have united fans and reignited interest in this beloved horror tale.Two sequels later, plus Hiltzik's retcon film Return to Sleepaway Camp, Sleepaway Camp continues to resonate in a big way with ’80s film buffs, global horror fans, and the LGBT community, all of whom enjoy their horror films…with a twist.Welcome to Sleepaway Camp. Meet you at the waterfront, after the social.

In the ‘70s and ‘80s Saturday Night Live, SCTV, and Monty Python ruled the television airwaves with sketch comedy. But then came the 1990s—and alongside grunge music and oversized denim, sketch comedy was turned up to 11. With the promise of low budgets, big laughs, more diverse cast members, and fresh content, an ever-expanding number of television stations each wanted their very own hit sketch show. Saturday Night Live was ‘dead’ anyway, right?We’re Not Worthy is the definitive account of ‘90s sketch comedy, the decade that forever changed what we laugh at. Author and comedian Jason Klamm goes behind the scenes of more than 50 sketch shows that ruled the ‘90s, including groundbreaking staples such as In Living Color, MTV’s The State, Mr. Show, Kids in the Hall, The Ben Stiller Show, and Mad TV, along with several swiftly canceled gigs (The Dana Carvey Show, anyone?). Each show seemed to launch at least one big name into the stratosphere: The Wayans family, Ben Stiller, Jennifer Coolidge, Amy Poehler, Chris Rock, Adam Sandler, Jim Carrey, Will Ferrell, Judd Apatow, Janeane Garofalo . . . the list goes on and on.Klamm brings readers back to the ‘90s comedy landscape like never before, through over 150 new and candid interviews with trailblazers such as Mike Myers, Bob Odenkirk, Carol Burnett, Tommy Davidson, Adam McKay, Dave Thomas, Patton Oswalt, Reno 911!’s Kerri Kenney-Silver, and a litany of additional favorites. Plus the producers, writers, directors, and other insiders that pulled it all together.Steeped with hilarious stories, on-the-set antics, and head-turning television politics, We’re Not Worthy is a revealing trip back to the decade that placed comedy on the razor's edge.

Ten years ago, Josh Usmani quit his day job to pursue a career as a full-time artist. Months later, the 2008 economic meltdown sent Josh s aspirations into uncertainty. His lifelong monetary issues eventually became the inspiration for using currency as an art medium. What began as a form of tongue-in-cheek political protest has evolved into a visually spectacular exploration of value. By drawing on real currency, Josh encourages viewers to explore creative expression and question the concept of value itself. He has certainly altered these notes' worth, but whether Josh has increased or decreased their value is up for viewers to decide. Altered Value: The Art of Funny Money features more than 150 of Josh's fantastically colorful drawings on currency from the U.S. and more than 35 countries.

As featured in Rolling Stone, Entertainment Weekly, The A.V. Club, Nerdist, Gizmodo, Ultimate Classic Rock, and more!"Weird Al" Yankovic is one of music's most beloved figures. A skilled accordion player and songwriter, the California native is known for his meticulous parodies of popular songs, hilarious originals, and, of course, for upbeat polkas!For much of Al's career, one man has been by his side, photographing and documenting the fun and weirdness: longtime drummer Jon "Bermuda" Schwartz. Since meeting Al in 1980, Jon has taken more than 20,000 images of Al in his element: on tour, in the studio, and on video sets. Black & White & Weird All Over presents hundreds of images of Al, culled from Jon's personal collection of black-and-white photography. These photos only existed on contact sheets ¿ out of mind and out of sight ¿ until now! From behind-the-scenes shots taken on the sets of Al's iconic videos for "Ricky," "I Love Rocky Road," "Eat It," and "Living With A Hernia," to studio sessions for Al's IN 3-D and Polka Party! LPs, Black & White & Weird All Over is the ultimate photographic essay of Weird Al's undisputed comedic genius.

Once upon a time - the 1980s - in a galaxy not really all that far away - New York - Michael Gingold started a collection of newspaper advertisements for the science fiction, fantasy, and horror releases that stoked his passion as a genre fan. Eventually, he would grow up to become editor-in-chief of the horror magazine Fangoria, plus a writer for numerous other genre publications, a screenwriter, respected author, and all-around expert for films frightful and fanstastical.As the years went by, Michael held on to this collection of weird and wonderful art, eventually publishing the best-selling, horror-themed Ad Nauseam: Newsprint Nightmares from the 1980s and its sequel, Ad Nauseam II: Newsprint Nightmares from the 1990s and 2000s. And now he presents Ad Astra: 20 Years of Newspaper Ads for Sci-Fi & Fantasy Films, a year-by-year look at the movies that shaped many a childhood in the '80s and '90s.Inside this 270-page book, you'll find Star Trek to Starship Troopers, The Dark Crystal to Dark City, Blade Runner to The Running Man, RoboCop to Robot Jox, The Empire Strikes Back to Back to the Future, and many, many more. See alternate artwork for your favorite films, learn the fascinating behind-the-scenes stories of their marketing campaigns, and read the most entertaining and unexpected quotes from reviewers at the time all carefully curated by Michael.So throw on your jetpack as we travel back in time to when print was king and movie marketing was an art form for the ages!Also available: Ad Nauseam: Newsprint Nightmares from the '70s and '80s and Ad Nauseam II: Newsprint Nightmares from the 1990s and 2000s.

Mad movie ad collector Michael Gingold returns with Ad Nauseam II, a deep dive into his personal collection of horror movie newsprint notices from the 1990s and 2000s.Feast your nostalgic eyes on more than 500 striking ads for the big-budget Gothics of the early and mid-'90s (Bram Stoker's Dracula, Interview with the Vampire), the slasher-film revival (Scream, I Know What You Did Last Summer, Halloween: H20), gruesome franchises (Saw, Final Destination), remakes (The Texas Chainsaw Massacre, Dawn of the Dead, The Ring), found footage films (The Blair Witch Project, Paranormal Activity) and more. Plus, unforgettable critic quotes of the time, fascinating facts about the films' releases, and Michael's always insightful commentary!Also available: Ad Nauseam: Newsprint Nightmares from the '70s and '80s and Ad Astra: 20 Years of Newspaper Ads For Sci-Fi & Fantasy Films (the 1980s and 1990s).

BRAND NEW & EXPANDED EDITION! Now with 125 additional pages of film ads from the 1970s and a new foreword by director Joe Dante! As featured in Entertainment Weekly, The New York Times, The Wall Street Journal, Fangoria, and more. Growing up in the 1970s and 1980s, Michael Gingold became obsessed with horror movies, and his love of the genre led him to become a Fangoria writer and editor for over 30 years, as well as a contributor to Rue Morgue and others. But before all that, he took his scissors to local newspapers, collecting countless ads for horror movies, big and small. Ad Nauseam: Newsprint Nightmares from the '70s and '80s is a year-by-year deep dive into the Gingold archive, with more than 700 ads! Within these pages you'll see rare alternate art for film franchises such as Halloween, Friday the 13th, A Nightmare on Elm Street, Child‿s Play, Jaws, The Texas Chainsaw Massacre, and The Exorcist. You'll also revel in oddities including Invasion of the Blood Farmers, Psycho from Texas, Dracula Blows His Cool, Zombie Island Massacre, Twitch of the Death Nerve, and many more. Gingold also provides personal recollections and commentary, and unearths vintage reviews to reveal what critics of the time were saying about these films. Steel yourselves, genre junkies: Ad Nauseam is an unmatched journey into the wild world of 1970s and 1980s horror movies!Also available: Ad Nauseam II: Newsprint Nightmares from the 1990s and 2000s and Ad Astra: 20 Years of Newspaper Ads For Sci-Fi & Fantasy Films (the 1980s and 1990s).

BRAND NEW & EXPANDED EDITION! Packed with dozens of additional horror titles and containing limited edition enhanced packaging (gilded foil page edges + ribbon marker).Are you obsessed with John Carpenter's iconic music for the Halloween series? Do you thrill to the unforgettable stabs of the Psycho score, or the pounding synths of Goblin's soundtrack to Suspiria? Do you find yourself being pulled into the hair-raising modern scores for the likes of Get Out, Hereditary, and It Follows?You're not alone.Blood on Black Wax is a defining horror soundtrack volume that spotlights iconic franchises such as A Nightmare on Elm Street, Friday the 13th, Jaws, The Exorcist, Child's Play, and George A. Romero's "living dead" films, highlighting both the music and the amazing, often rare artwork that graces the record sleeves. It also tells the stories behind the soundtrack, from the mouths of the musicians who made them, including John Carpenter, Fabio Frizzi, Christopher Young, Harry Manfredini, Charles Bernstein, Pino Donaggio, John Harrison, and more.Aaron Lupton and Jeff Szpirglas, both of Rue Morgue magazine, have curated Blood on Black Wax to reflect their own passion for the darkest slabs of soundtrack music. Their journey into the fascinating history of horror movie scores contains reviews, release details, and the wild stories about the making of both iconic classics and the strange outliers of the genre - everything from the orchestral sounds of Hammer and Universal horror, to the truly experimental albums for The Texas Chainsaw Massacre and Eraserhead, to the outlandish punk and metal songs of '80s soundtrack albums like The Return of the Living Dead and Shocker.Go back to your favorite horror films one more time, through the jaw-dropping, spine-tingling music that helped solidify their place in cinematic history!