A Mondo documentary that juxtaposes footage of death, carnage, and unpleasantness with scenes of inspiring and beautiful imagery.
Himself
Himself (archive footage)
A Mondo documentary that juxtaposes footage of death, carnage, and unpleasantness with scenes of inspiring and beautiful imagery.
1983-09-02
2
A documentary short on the history of Mondo movies by British author David Flint.
Thérèse Clerc is one of the great figures of militantism. From the struggle to legalize abortion to the fight for equal rights of men and women and the battle for gay rights, she’s been on the front lines of all of them. She has just learned that she has an incurable disease and has decided to take a last look back over her life, a tender and lucid look at the battles and the love that went with them.
Mylene is overwhelmed by desperation and regret. She stares at old photographs and spilled pills. Death stares back.
Commissioned to make a propaganda film about the 1936 Olympic Games in Germany, director Leni Riefenstahl created a celebration of the human form. This first half of her two-part film opens with a renowned introduction that compares modern Olympians to classical Greek heroes, then goes on to provide thrilling in-the-moment coverage of some of the games' most celebrated moments, including African-American athlete Jesse Owens winning a then-unprecedented four gold medals.
A group of survivors take refuge in a shopping mall after the world is taken over by aggressive, flesh-eating zombies.
An architect's desire to speak with his wife from beyond the grave using EVP (Electronic Voice Phenomenon), becomes an obsession with supernatural repercussions.
A shy, stuttering professor brings satanist Aleister Crowley back to life.
Alex has a disturbing hobby of following strangers...until one night he gets caught. Instead of calling the police, the couple--fascinated by Alex's resemblance to their dead son--asks him to stay, and Alex finds himself trapped in a horrifying existence of desperation, despair, and insanity.
The Special is loosely inspired by horror classics of the time, such as "Carry" and "Fury." The story is about a little girl who has nightmares and a series of murders in the area, which in a strange way, are related to them.
After a teenager has a terrifying vision of him and his friends dying in a plane crash, he prevents the accident only to have Death hunt them down, one by one.
Dr. Feinstone has everything, a beautiful wife and a successful career in dentistry; but when he discovers his wife's affair, he realizes that behind every clean, white surface lies the stench of decay.
Six years after being kidnapped by a cult, Jamie tries to escape the clutches of her serial killer uncle, Michael Myers.
Two decades after surviving a massacre on October 31, 1978, former baby sitter Laurie Strode finds herself hunted by persistent knife-wielder Michael Myers. Laurie now lives in Northern California under an assumed name, where she works as the headmistress of a private school. But it's not far enough to escape Myers, who soon discovers her whereabouts. As Halloween descends upon Laurie's peaceful community, a feeling of dread weighs upon her -- with good reason.
As a couple goes on a trip to find their way back to each other, a sideshow artist and his shady entourage emerge from the woods, terrorizing them, luring them deeper into a maelstrom of psychological terror and humiliating slapstick.
The film documents the night life scenes of both Hong Kong and Macau, from nightclubs, sauna baths to young ladies making category III VCDs.
Arguing that advertising not only sells things, but also ideas about the world, media scholar Sut Jhally offers a blistering analysis of commercial culture's inability to let go of reactionary gender representations. Jhally's starting point is the breakthrough work of the late sociologist Erving Goffman, whose 1959 book The Presentation of the Self in Everyday Life prefigured the growing field of performance studies. Jhally applies Goffman's analysis of the body in print advertising to hundreds of print ads today, uncovering an astonishing pattern of regressive and destructive gender codes. By looking beyond advertising as a medium that simply sells products, and beyond analyses of gender that tend to focus on either biology or objectification, The Codes of Gender offers important insights into the social construction of masculinity and femininity, the relationship between gender and power, and the everyday performance of cultural norms.