Alternative Europe: Eurotrash and Exploitation Cinema Since 1945 (Alterimage)
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This second title in the AlterImage series that investigates previously under-explored areas of popular and cult cinema (Underground U.S.A. being the first volume) features over 20 essays from an eclectic range of writers uncovering the cult cinema of Europe. The writers consider such unusual and diverse topics as Russian horror cinema, British exploitation, Belgian alternative cinema and Black 'Emmanuelle' films. Alternative Europe also includes exclusive interviews with such 'trash' film directors as Jess Fano and Brian Yuzna (Reanimator, etc.).
Perks' chapter particularly interesting is the way in which it reveals Buttgereit as reflecting and re-framing his thoughts around his own films on the basis of having read Linnie Blake's theoretical interventions. Thus, the second interview conducted with the director (after he has digested the 'Jörg Buttgereit's Nekromantiks: Things to do in Germany with the Dead' article contained in this volume), leads him to adopt a far more elaborate and reflective account of the personal and cultural
alongside an appreciation of production practices. This philosophy of integrating academic with critical and fan-based approaches to cult and 'marginal' film forms has proven a key feature in the rapid and successful growth of the Archive, to the extent that it now enjoys important links with key academic and commercial film organisations (both nationally and internationally). In terms of its commercial links, the Archive enjoys longstanding relationships with the leading national television
while withstanding pain, only spurs his 'appetite for the dirtiest, most demanding police work'. Ultimately, these films become a medium not for reflecting truth but 2 for reflecting desire. The fantasy, or desire, for the common man is to face insurmountable challenges with a collected cool, with an appetite for demanding and, one hopes, dirty work. The reality, however, is based in 77 that most undesirable affliction - the mundane nine-to-five existence, which leads to an embittered outlook
corner is often referred to as 'exploitation', designating a series of texts that do not belong to the recognised repertoire, mostly because they are not deemed worthy enough. This latter category 3 of films wants to become popular, but is often prevented of becoming part of the cinema establishment because the films are continuously dismissed as cheap or irrelevant rubbish. The dynamics between these corners, the battlefield of alternative cinema, has not gone unnoticed by scholars. Jeffrey
position. Risking the charge of fetishising European film I would claim the European (and, especially because of its gore) Italian, horror film frequently depends on this ambiguity to sustain its affective purpose - that of a beautiful or pleasurable horror. We often see the elicitation of a protracted look 108 in Italian horror so that our pleasure in the film is not through catharsis but a reflection upon what is conssidered desirable. Italian horror is a pleasure to look at but not through