I Spit On Your Grave

Fiction. "In the tradition of Karl May and Franz Kafka, Boris Vian imagines an American even more amazing that the land he has never visited. "I Spit on Your Graves" is the first novel to put the quotation marks around the "hardboiled" thriller -- a vivid and startling performance" (J. Hoberman). The book is Boris Vian's (1920-1959) sex-and-violence-filled homage to American noir. Originally published in France as J'rai Cracher Sur Vos Tombes -- after allegedly being censored in the U.S. and "translated" into French -- the novel was no best seller, establishing Vian as one of the most famous writers of the mid-twentieth century.

There is no denying that Meir Zarchi’s I Spit on Your Grave (1978) deserves its title as one of the most controversial films ever made. While many condemn it as misogynistic, others praise it for raising uncomfortable issues about sexual violence. While its reputation as a cult film has undoubtedly been cemented by its unique position in the 1970s/80s exploitation era and the "video nasties" scandal, it has also become mythologized by its own official and unofficial franchises. David Maguire examines why the film still continues to provoke fierce debate forty years on, not only investigating the historical, social, and political landscape into which the film was first released—and condemned—but also examining how it is has inadvertently become ground zero for the rape-revenge genre because of its countless imitators. The book explores how academic study has reevaluated the film’s importance as a cultural statement on gender, the conflicting readings that it throws up, the timeless appeal of its story as examined through folklore and mythology, and its updating to reflect contemporary issues in a post-9/11 world of vengeance and retaliation.

THE WORLDWIDE #1 BESTSELLER EVERYONE IS TALKING ABOUT! "An Instant Horror Classic!" --News Atlanta "One Of The Best Books Of 2015." --AMB Magazine "She's The Next Stephen King." --Horror Society "Horror's Next New York Times Bestseller." --All Indie Magazine "It's Like Nothing Else Out There." --Gotham News Readers of New York Times Bestsellers Gone Girl, The Girl on the Train and Luckiest Girl Alive left wanting more will devour the debut novel from Hollywood screenwriter turned author MYLO CARBIA. Set in 1991 in Atlanta, Georgia, The Raping of Ava DeSantis tells the story of a working class college student who is brutally attacked by three wealthy fraternity brothers, then confronted with the decision of a lifetime: accept money to stay quiet or seek justice with the police. What she does in response is the basis of this captivating woman's revenge thriller that will have readers talking for years to come. With brilliantly written characters, bone-chilling, fast-paced scenes and a double twist ending, The Raping of Ava DeSantis is the perfect blend of suspense, thriller and horror -- guaranteed to entertain both female and male readers alike. TAGLINE: A poor college student brutally attacked by three wealthy fraternity brothers seeks revenge against their families years later. THEMES: Vigilante Justice, Female Protagonist, Serial Killers, Wealthy Versus Poor, College Life, Southern Life, Urban Settings, United States, American Horror, Horror, Revenge Thrillers, Mystery Thrillers, Psychological Thrillers, Revenge Stories, Classic Horror Books, Horror Fiction Classics AUTHOR: Mylo Carbia spent her childhood years writing to escape the horrors of growing up in a haunted house in Jackson, New Jersey. After years of ghostwriting films in Hollywood -- earning her the nickname "The Queen of Horror" -- she moved into the literary world to write a series of bestselling novels all featuring strong female protagonists. The Raping of Ava DeSantis is her debut novel. FIND OUT WHAT EVERYONE IS TALKING ABOUT... ORDER YOUR COPY TODAY!

Examining the popularity of low-budget cinema, particularly slasher, occult, and rape-revenge films, the author argues that, while such films have been traditionally understood as offering only sadistic pleasure to their mostly male audiences, in actuality they align spectators not with the male tormentor but with the females being tormented--particularly the slasher movie's "final girls"--Who endure fear and degradation before rising to save themselves.--Adapted from publisher description.

An expansive treatment of the meanings and qualities of original and remade American horror movies

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.

A collection of some of the Pulitzer Prize–winning film critic’s most scathing reviews, from Alex & Emma to the remake of Yours, Mine, and Ours. From Roger’s review of Deuce Bigalow: European Gigolo (0 stars): “The movie created a spot of controversy in February 2005. According to a story by Larry Carroll of MTV News, Rob Schneider took offense when Patrick Goldstein of the Los Angeles Times listed this year's Best Picture nominees and wrote that they were 'ignored, unloved, and turned down flat by most of the same studios that . . . bankroll hundreds of sequels, including a follow-up to Deuce Bigalow: Male Gigolo, a film that was sadly overlooked at Oscar time because apparently nobody had the foresight to invent a category for Best Running Penis Joke Delivered by a Third-Rate Comic.' Schneider retaliated by attacking Goldstein in full-page ads in Daily Variety and the Hollywood Reporter. In an open letter to Goldstein, Schneider wrote: “Well, Mr. Goldstein, I decided to do some research to find out what awards you have won. I went online and found that you have won nothing. Absolutely nothing. No journalistic awards of any kind . . . . Maybe you didn’t win a Pulitzer Prize because they haven’t invented a category for Best Third-Rate, Unfunny Pompous Reporter Who’s Never Been Acknowledged by His Peers . . . .” Schneider was nominated for a 2000 Razzie Award for Worst Supporting Actor but lost to Jar-Jar Binks. But Schneider is correct, and Patrick Goldstein has not yet won a Pulitzer Prize. Therefore, Goldstein is not qualified to complain that Columbia financed Deuce Bigalow: European Gigolo while passing on the opportunity to participate in Million Dollar Baby, Ray, The Aviator, Sideways, and Finding Neverland. As chance would have it, I have won the Pulitzer Prize, and so I am qualified. Speaking in my official capacity as a Pulitzer Prize winner, Mr. Schneider, your movie sucks.” Roger Ebert’s I Hated Hated Hated This Movie, which gathered some of his most scathing reviews, was a bestseller. This collection continues the tradition, reviewing not only movies that were at the bottom of the barrel, but also movies that he found underneath the barrel.

Combining in-depth analysis with over 200 film reviews, 'Legacy of Blood' is a comprehensive examination of the slasher movie and its conventions to date, from 'Halloweeen' to 'Scream' and beyond.

During the second half of the 20th century, landmark works of the horror film genre were as much the product of enterprising regional filmmakers as of the major studios. From backwoods Utah to the Louisiana bayous to the outer boroughs of New York, independent, regional films like Night of the Living Dead, Last House on the Left, I Spit on Your Grave, The Texas Chain Saw Massacre, and The Evil Dead stood at the vanguard of horror cinema. This overview of regionally produced horror and science fiction films includes interviews with 13 directors and producers who operated far from mainstream Hollywood, along with a state-by-state listing of regionally produced genre films made between 1958 and 1990. Highlighting some of the most influential horror films of the past 50 years, this work celebrates not only regional filmmaking, but also a cultural regionalism that is in danger of vanishing.

This book explores horror film franchising from a broad range of interdisciplinary perspectives and considers the horror film’s role in the history of franchising and serial fiction. Comprising 12 chapters written by established and emerging scholars in the field, Horror Franchise Cinema redresses critical neglect toward horror film franchising by discussing the forces and factors governing its development across historical and contemporary terrain while also examining text and reception practices. Offering an introduction to the history of horror franchising, the chapters also examine key texts including Universal Studio monster films, Blumhouse production films, The Texas Chainsaw Massacre, A Nightmare on Elm Street, Alien, I Spit on Your Grave, Let the Right One In, Italian zombie films, anthology films, and virtual reality. A significant contribution to studies of horror cinema and film/media franchising from the 1930s to the present day, this book will be of interest to students and scholars of film studies, media and cultural studies, franchise studies, political economy, audience/reception studies, horror studies, fan studies, genre studies, production cultures, and film histories.