Literature Review

I thought it may be of interest to someone out there if I posted my bibliography on here. This is not meant to be the definitive word on the topic under investigation, but I hope it's fairly thorough.


Bibliography

Barker, M. and Brooks, K. 1998, Knowing Audiences: Judge Dredd: Its Fans, Friends and Foes, Luton, University of Luton Press

Bayman, L. and Rigoletto, S. eds. 2013, Popular Italian Cinema, 2013, Chippenham, Palgrave Macmillan

Benzel, T. 2012, Muchas Gracias Seňor Lobo: Paul Naschy Memorabilia, Birkenfeld, Kessler & Benzel GbR

Bergfelder, T. 2005, International Adventures: German Popular Cinema and European Co-Productions in the 1960s, Oxford, Berghan Books

Branaghan, S. edited by Chibnall, S. 2006, British Film Posters: An Illustrated History, Cambridge, BFI/ Cambridge University Press

Chapman, J., Glancy, M. and Harper, S. 2007, The New Film History: Sources, Methods, Approaches, 2007, Basingstoke, Palgrave Macmillan

Chibnall, S. and McFarlane, B. 2009, The British 'B' Film, Camberley, BFI/ Palgrave Macmillan

Chibnall, S. 2013, 'Rome, Open for British Production: The Lost World of 'Britalian' films, 1946-1954', Historical Journal of Film, Radio and Television, 33:2, 234-269

Creepy Images [journal] available through: www.creepy-images.com 

Davies, R. R. 2011, Kiss Kiss Kill Kill: The Graphic Art and Forgotten Spy Films of Cold War Europe, St Albans, Picture and Sound Ltd

Devraj, R. Duncan, P. ed. 2010, The Art of Bollywood, Hong Kong, Taschen

Dougall, A. consultant ed. Gassner, D. 2012, James Bond: 50 Years of Movie Posters, London, Dorling Kindersley

Dyer, G. 1982, Advertising as Communication, London, Routledge

Eley, G. 2005, A Crooked Line: From Cultural History to The History of Society, London, The University of Michigan Press

Garret S. Balazs, A. ed. 1996, Hollywood Handbook, New York, Universe Publishing

Grant, K. 2011, Any Gun Can Play: The Essential Guide to Euro-Westerns, Godalming, FAB Press

Hall, S. and Neale, S. 2010, Epics, Spectacles and Blockbusters: A Hollywood History, Michigan, Wayne State University Press

Hamilton, J. 2005, Beasts in the Cellar: The Exploitation Film Career of Tony Tenser, Godalming, FAB Press

Hanson, S. 2007, From Silent Screen to Multi-Screen: A History of Cinema Exhibition in Britain Since 1896, Manchester, Manchester University Press

Hantke, S. ed. 2004, Horror Film: Creating and Marketing Fear, Mississippi, University Press of Mississippi

Hawkins, J. 2000, Cutting Edge: Art Horror and the Avante-garde, Minnesota, The University of Minnesota Press

Hearn, M. 2010, The Art of Hammer, China, Titan Books

Hughes, H. 2004, Once Upon a Time in the Italian West, Padstow, I.B. Taurus

Hunter, I. Q. 2013, British Trash Cinema, Basingstoke, BFI/ Palgrave Macmillan

Jackson, N. 2012, 'Stained With the Blood of the Marketing Department', paper given at Cine Excess, London

Lamberti, E. ed. 2012, Behind the Scenes at the BBFC: Film Classification from the Silver Screen to the Digital Age, London, BFI/ Palgrave Macmillan

Murphy, R. ed. 1997, The British Cinema Book, 1st edition, London, BFI

Nava, M. 2007, Visceral Cosmopolitanism: Gender Culture and the Normalisation of Difference, 1st edition, London, Bloomsbury/ Berg Publishers

Nowell-Smith, G. and Ricci, S. eds. 1998, Hollywood and Europe: Economics, Culture and National Identity 1945-95 , London, BFI

Sarowitz, Sam, 2008, Translating Hollywood: The World of Movie Posters, New York, Mark Batty Publisher

Schaefer, E. 1999, "Bold! Daring! Shocking! True!" A History of Exploitation Films, 1919-1959, Durham, Duke University Press

Shipka, D. 2011, Perverse Titillation: The Exploitation Cinema of Italy, Spain and France, 1960-1980, North Carolina, McFarland

Smith, A. 2012, 'Cowboys and Cannibals: an interview with Ruggero Deodato', Diabolique, Issue no. 8, Jan/ Feb 2012

Spicer, A. and McKenna, A.T. 2013, The Man Who Got Carter: Michael Klinger, Independent Production and the British Film Industry, 1960-1980, London, IB Taurus

Trevelyan, J. 1973, What the Censor Saw, Slough, Michael Joseph Ltd

Waller, G. A. 2002, Moviegoing in America, Oxford, Blackwell Publishers

The ongoing saga of the literature review

I have to get this finished by tomorrow. I'm already overdue, and it has to be done so I can have a viva. I'm drowning in books and words and none of it makes sense any more. I've become slightly more knowledgeable in the process, but it's killing me. I love reading, but the writing, not so much. This is not an attitude that is conducive to academia, but there you are.

I've particularly enjoyed becoming more acquainted with the Eurospy film, partly thanks to the Kiss Kiss Kill Kill archive.

Anyway, I've still got a few hundred words to go and I'm about to slam my head repeatedly against the desk. I'll be back when I'm done.

Intensities: The Journal of Cult Media

My interview with Tony Klinger went very well, and he told me some hilarious stories about his early career working for Compton International when he was only fifteen! When I was fifteen I was working on a farm. I guess it's not what you know...

The new issue of Intensities: The Journal of Cult Media is now online. I edit the reviews section, and I wrote something for it too, an article on Baba Yaga (1973). How I found the time to do this I don't know, but you can find it here.

I'm still desperately trying to finish my literature review. I keep finding more stuff to read, which doesn't help, including this new book on Italian Popular Cinema. I'll get it done eventually.

Michael Klinger

This week I will be interviewing Tony Klinger, son of legendary British producer and head of Compton Films Michael Klinger. I will be talking to him specifically about Compton's international acquisitions. Tony worked for his dad back in the sixties, so will hopefully be able to give me some great information for my case study on Compton.

A few years ago he donated what remained of Michael Klinger's archive to the University of West Anglia, where Dr Andrew Spicer has been doing some great work. He has interviewed loads of people who worked with Klinger and has put most of it up on their website, The Michael Klinger Papers. It is well worth a look if you're interested in British independent production. Not only did Klinger make movies with Compton, but he also went on to do films like Get Carter, Shout at the Devil and Gold, the latter two with Roger Moore.

I managed to get in touch with Tony through LinkedIn, which means I've finally found a use for it.

Robert Hartford-Davis and the birth of Brit-Exploitation

Today I've been reading Michael Ahmed's PhD thesis "Corrupted, Tormented and Damned: Reframing British Exploitation Cinema and the Films of Robert Hartford-Davis", and it really is excellent. I read it with some jealousy, if I'm honest. He draws on similar sources to my own study, particularly with his focus on Compton Films. Hartford-Davis directed The Yellow Teddy Bears (1963), which he states is considered to be the first British exploitation film, although of course it depends how you define exploitation. This is something that Michael Ahmed goes to great lengths to try and do. I haven't finished reading it yet as it's nearly 300 pages, but you can find it here on academia.edu and it's really worth doing.

One of Hartford-Davis' most infamous movies is the Peter Cushing shocker Corruption (1968), which after years of infamy and obscurity is finally getting a full uncut blu ray release this year, and I can't wait.

Rule Britalia

Today I've been reading a fascinating paper by Steve Chibnall, Hammer Lover and Professor in Residence at The Cinema Museum. He's custodian of the Hammer archive at De Montfort University and wrote that brilliant Pete Walker book, amongst other things. This paper, published by the Historical Journal of Film, Radio and Television in Volume 33, Issue 2, 2013, is fascinating, and provides an interesting historical context for my studies. In "Rome, Open for British Production: The lost world of 'Britalian' films, 1946-1954", Steve details the relationship the British film industry had with war-torn Italy, and essentially posits that it was the British who kicked their industry back into shape, ready to become the incredible film-making machine they were in the 1960s.

You can download the paper here.

I went to Steve's amazing Hammer festival in Leicester last summer, which you can read about in my report over at Cinema Retro.

As Steve covers her first film, and quotes from Picturegoer extensively, it seemed like a good excuse to post this cover of Gina Lollabrigida from my own collection.

Second Supervisor and more

I've just had a Skype call with my supervisor and found out I have a new second supervisor. Originally it was going to be cult film-provoceteur Dr Xavier Mendick, but he jumped off to Brighton University, taking Cine Excess with him (and who can blame him?). So I've spent my first year working solely with Dr Leon Hunt, who I first discovered through his book British Low Culture: From Safari Suits to Sexploitation, a fun read that I highly recommend.

Anyway, my new supervisor is to be Professor Julian Petley, who is a leading academic in the area of media regulation and censorship, and I'm feeling just a little intimidated. And really pleased. I need all the help that I can get, as I still don't really consider myself as academic.

The news so far is that I still haven't finished my first chapter, but am committed to handing it in by the 21st of July, and then writing another chapter over the summer. I also need to try and interview Tony Klinger, son of Compton uber-producer Michael Klinger, and John Henderson, who worked for Compton in their international sales department. The latter lives in Paris, so I sense a trip in the near future.