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

Considered a notorious subset of horror in the 1970s and 1980s, there has been a massive revitalization and diversification of rape-revenge in recent years. This book analyzes the politics, ethics, and affects at play in the filmic construction of rape and its responses.

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.