Bøker av G. H. Janus

One of the first key waves of pulp art created in American cultural history came during the period from 1933 to 1940, when a range of provocative magazines sprang up with exceptionally striking, often startling cover illustrations by some of the most imaginative artists of the time. The most controversial of these publications were those themed around terror-mystery, horror and weird menace fiction, a genre which coalesced in 1933 with the inception of Dime Mystery Magazine.The covers produced for this and similar pulps were mainly centered around images of voluptuous women - scantily clad in ripped dresses and underwear, or even naked - being threatened with torture, mutilation and death by an array of hooded cultists, mad doctors and other deranged psychopaths.VOLUPTUOUS HORRORS 2 collects 100 full-page, full-color weird menace magazine covers from 1937-1940, presenting some of the world's most lurid and often sadistic cover designs from the golden age of pulps.

One of the first key waves of pulp art created in American cultural history came during the period from 1933 to 1940, when a range of provocative magazines sprang up with exceptionally striking, often startling cover illustrations by some of the most imaginative artists of the time. The most controversial of these publications were those themed around terror-mystery, horror and weird menace fiction, a genre which coalesced in 1933 with the inception of Dime Mystery Magazine.The covers produced for this and similar pulps were mainly centered around images of voluptuous women - scantily clad in ripped dresses and underwear, or even naked - being threatened with torture, mutilation and death by an array of hooded cultists, mad doctors and other deranged psychopaths.VOLUPTUOUS HORRORS collects 100 full-page, full-color weird menace magazine covers from 1933-1937, presenting some of the world's most lurid and often sadistic cover designs from the golden age of pulps.

Classic Italian film poster art is renowned as being among the most innovative, creative and dynamic of its kind. From the post-war period through to early 1990s, Italian artists consistently produced posters with sumptuously stunning designs and seductive imagery - not least in the gore-splashed giallo genre, for which compositions focused on curvaceous female figures in jeopardy juxtaposed with the iconography of sadism and violent death.Terrors On A Razor's Edge features 100 film posters by a wide range of acclaimed Italian artists, created for both indigenous and international film productions presenting giallo, krimi and related psycho-killer narratives from European cinema. The collection focuses on the prime years from 1960 to 1979, and is displayed with full-color, full-page reproductions, illustrating one of the most controversial and bloody of all horror sub-genres. Terrors On A Razor's Edge presents a vivid pictorial history of Euro-slasher cinema expressed in its most immediate and eye-catching form.

Classic Italian film poster art is renowned as being among the most innovative, creative and dynamic of its kind. From the post-war period through to early 1990s, Italian artists consistently produced posters with sumptuously stunning designs and seductive imagery - not least in the science fiction genre, for which compositions often included curvaceous female figures in jeopardy, juxtaposed with the iconography of unreal terrors.Terrors From Worlds Unknown collects 150 science fiction film posters by a wide range of acclaimed Italian artists, created for both indigenous and world-wide film productions. The collection features full-color, full-page reproductions illustrating classic SF tropes from space exploration and alien invasions to aberrant experimentation and bizarre human mutations, as well as science fantasy sub-genres such as lost worlds, giant monsters and fumetto-inspired superhero narratives. Terrors From Worlds Unknown presents a vivid pictorial history of science fiction cinema expressed in its most immediate and eye-catching form.

Bestriding the many visual deceits and narratives to be found in early cinema was the singular figure of Satan, the Devil incarnate. From Goethe's Faust to Dante's graphic renderings of the Inferno, classic art and literature were the well whence sprang the first cinematic depictions of the Devil, his deeds and his dwelling-place. These feverish imaginings led to more elaborate and complex films which vividly explored the terrors of the fallen angel's relentless war against humanity. From Georges Méliès' diabolic trick-film "Le Manoir Du Diable", shot in 1896, to such mysterious silent works as "Witchcraft Through The Ages", "Faust" and "Birth Of The Anti-Christ", and beyond to the burgeoning sound era, SATANIC SHADOWS documents all of the key filmic invocations of Satan, his victims and his worshippers unleashed in the first four decades of commercial cinema. SATANIC SHADOWS shows how narratives of sin, temptation and damnation were central to the roots of cinema's horror and phantasy genres, and how the Devil's dark, horned figure overshadowed all others in the race to astonish and terrify the spectator. With a wide array of more than 100 illuminating production photographs - many assembled from global film archives and seldom, if ever, previously published - this comprehensive illustrated filmography references over 250 films, and also includes a full index of titles.

A major horror and fantasy sub-genre of cinema''s first decades was that dealing with rampaging gorillas - either jungle-wild, circustamed or trained to serve wicked masters - killer apes, and a range of ape-human hybrids, either evolutionary ''missing links'' or creatures spawned by medical experimentation and radical surgeries. Inspirations for this genre came from both fantasy-horror literature and the populist cultural trope of gorillas as abductors and ravishers of human females, a fear which arose from early European expeditions into Africa. This idea found its apex expression in RKO''s King Kong (1932) - with Fay Wray as the blonde snatched away by a giant ape - while its unspoken logical conclusion, a grotesque miscegenation of species, was shown in the infamous Ingagi (1931). Charles Gemora, Ray ''Crash'' Corrigan, Emil Van Horn and Hollywood''s other delinquent gorilla men - seen in feature films, shorts and serials alike - persisted into the 1940s and only began to slow with the m