By John Szpunar
From recognized Monsters of Filmland to Fangoria… and every thing in among, Xerox Ferox is way greater than a e-book approximately monster magazines. it's the first ebook of its sort to ascertain the home-grown DIY fanzines that dared to dig deeper than the slick and glossy newsstand mags ever would... or certainly even may well. The titles have been as lurid because the movies that they coated. Gore Gazette. Deep purple. Sleazoid show. sooner than message forums, earlier than blogs, sooner than the net itself, the fanzine reigned because the leader resource of stories and knowledge for horror fanatics around the world. frequently imprinted on the reasonable and bought for the cost of postage, madcap mags like Slimetime, The Splatter instances, and Subhuman traveled the globe, making a thriving community of lovers and pros alike. Xerox Ferox strains the increase of the horror movie fanzine, from the recognized Monster-starved youngsters of the Nineteen Sixties to the splatter-crazed gorehounds of the Fangoria new release. that includes in-depth interviews with over fifty writers, editors, and professionals, Xerox Ferox is the last word on an period that modified the area of fandom forever… Xerox Ferox is the 1st identify to hide the horror movie fanzine phenomenon and tradition in encyclopedic intensity. The e-book additionally includes long chapters that care for the hot York zine scene and the hub of its grindhouse task, occasions sq.. in lots of methods, the e-book works as time pill of that era-writers and filmmakers together with Jimmy McDonough, invoice Landis, Mike McPadden, Steve Puchalski, Roy Frumkes, and blood brother Giovinazzo proportion their stories of the motion picture homes of 42nd Street-and the hazards that have been encountered whereas vacationing them. now not constrained to manhattan urban, Xerox Ferox additionally concentrates at the drive-in theaters of the south. different themes mentioned comprise advertisement Super-8 horror movies of the Nineteen Sixties and Seventies, the house video revolution of the Eighties, nearby exploitation motion pictures, low price range filmmaking, and naturally, self publishing, networking, and distribution.
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Extra info for Xerox Ferox: The Wild World of the Horror Film Fanzine
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At the end of the film, the coach, with an impassioned speech, succeeds in bringing the team together. In a final play when the team is going for a win in a play-off game, as team members break the huddle and head to the line of scrimmage, the players are filmed in such a way as to resemble the gunfighters in The Magnificent Seven (which Stone 10/24/12 12:04 PM 12 ■ ANY GIVEN SUNDAY acknowledged in his audio commentary on the DVD of Any Given Sunday), an image that symbolizes hired guns coming together with a common purpose.
Wall Street and Any Given Sunday also are connected by their use of shark imagery. Stone saw Gordon Gekko (Michael Douglas), the corporate raider in Wall Street, as “a white shark . . ” The name of the team in Any Given Sunday is, of course, the Sharks. Two other things tie all three films— Scarface, Wall Street, and Any Given Sunday—together. First, all three have a Nietzschean subtext. Stone has acknowledged the influence of Friedrich Nietzsche’s philosophy on his thinking. For Nietzsche, the primary motivation for human behavior is the will to power, and in all three films, it is the will to power that ultimately motivates the characters.
Take those accents: these were choices carefully considered, as Stone gives his Macedonians a Celtic twinge to reflect their place on the fringe of Greek culture, and provides Olympias’s quasi-Roman accent to reflect her foreign birth (although it is unfortunate that she ends up sounding like Bullwinkle’s Natasha). And as for the issue of sexuality, Stone’s account is historically well-grounded. The bottom line is simple: whatever its flaws, this is a serious attempt to engage the historical past.