World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
W—F 12—6 PM
Sat 12—5 PM
WEB-SHOP OPEN 24/7.
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
Art
Theory / Essay
Architecture / Interior
Graphic Design / Typography
Photography
Fashion
Eros
LGBTQ+
Fiction / Poetry
Weird / Speculative / Science Fiction / Horror
Transgressive / Visceral / Abject
Symbolism / Decadence / Fin de siècle
Film / Video
Painting
Sculpture / Installation
Performance / Dance / Theater
Drawing
Sound / Music
Curatorial
Group Shows / Collections
Periodicals
Out-of-print / Rare
Posters / Ephemera / Discs
Signed Books
World Food Books Gift Voucher
World Food Book Bag
Australian Art
Australian Photography
Japanese Photography
Conceptual Art
Minimal Art
Dada
'Pataphysics / Oulipo
Fluxus
Concrete Poetry
Pop Art
Surrealism
Arte Povera
Arte Informale / Haute Pâte / Tachism
Nouveau Réalisme / Zero / Kinetic
Situationism / Lettrism
Collage / Mail Art / Xerox Art
Art Brut / Folk / Visionary / Fantastic
Illustration / Graphic Art / Bandes Dessinées
Furniture
Italian Radical Design / Postmodernism
Textiles
Ceramics / Glass
Counterculture
Protest / Revolt
Anarchism
Socialism / Communism / Capitalism
Literary Theory / Semiotics / Language
Feminism
Fetishism / BDSM
Drugs / Psychedelia
Crime / Violence
Animal Rights / Veganism
Occult / Esoterica
Ecology / Earth / Alternative Living
Whole Earth / Crafts
All prices in AUD (Australian dollars)
Pick-Ups
Please note: The bookshop is closed until February 1, 2024.
Pick-up orders can be collected in our bookshop during opening hours after this date. Please collect any Pick-up orders within 3 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected.
Return Policy
All sales are final. We do accept returns (for refund, exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
1969, Japanese
Softcover (staple-bound), 54 pages, 23.5 x 15.5 cm
1st Edition, Out of print title / used / good
Published by
ATG / Tokyo
$25.00 - Out of stock
Rare copy of issue 64 of Tokyo's ATG (Art Theatre Group) publication, published in 1968/1969, with extensive cover features on the works of Japanese director Yoshida Yoshishige and French director Jean-Luc Godard. Includes many photographs, as well as filmographies on both directors, plus in-depth articles on Yoshishige's Farewell to the Summer Light (1968) and Godard's Le petit soldat (1963). Also includes an article and advertisements for Diary of a Shinjuku Thief by Nagisa Ōshima, listing for the ATG program, galleries and more.
Good—VG copt with some cover/spine wear.
1964, Japanese
Softcover (staple-bound), 240 pages, 21 x 15 cm
1st Edition, Out of print title / used / good
Published by
Kubo Shoten / Japan
$70.00 - Out of stock
Rare November 1964 issue of "THE JAPAN'S MOST REMARKABLE SM MAGAZINE", Rear Window, an early, pioneering SM magazine that played an important role in the formation of postwar SM culture, along with Kitan Club. Launched by Kubo Shoten in 1956, Rear Window was edited by Toshiyuki Suma, with Chimuo Nureki serving as editor-in-chief. In 1962—1965 Chimuo Nureki took over as editor. Heavy with wonderful artwork galleries in colour and bw, stunning kinbaku/bondage photo-features, illustrated fetish fiction, articles on sex customs, fold-outs, and much more, with contributions by Ran Akiyoshi, Mineko Tsuzuki, Kiyoshi Kimata, Chimuo Nureki (Yukio Kanai), Ayako Nakagawa (Kazutomo Fujino), Yoji Muku, Kazuyuki Kohinata, Akihiro Yamada, Taiga Utagawa, Hiroshi Urato, Hisashi Yoshida, Kimi Nakajima, and many others.
Good copy with cover wear, tanning.
1974, Japanese
Softcover, 160 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Hayashi Bookstore / Tokyo
$45.00 - In stock -
Second issue of cult Japanese underground magazine, Heretical Literature, "A New Magazine Exploring The Unknown World of Aesthetics", published in August 1974. Edited by Munehiro Hayashi, with cover artwork by Pierre Molinier, this issue features colour galleries of Muzan-e (also known as "Bloody Prints", Japanese woodcut prints of violent nature published in the late Edo and Meiji periods), Viennese fantastic realist Rudolf Hausner, gallery of historical mistress illustrations, features/stories on Medieval subcontinental tales, the homo romantiscism of Rome, sadistic pornography, adult toys, rape, western astrology, and "miscellaneous notes on human waste and loincloths", with illustrations by Kaname Ozuma, Masao Koaku, Ran Akiyoshi, plus much more. Texts in Japanese.
VG copy, general light wear/tanning.
1989, English
3 Vols. softcovers, 500 + 560 + 584 pages, 23.5 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
Zone Books / New York
$190.00 - Out of stock
Complete set (3 volumes) of ZONE : Fragments for a History of the Human Body, published in 1989 by Zone Books, and all long out-of-print. The forty-eight essays and photographic dossiers in these three volumes examine the history of the human body as a field where life and thought intersect. They show how different cultures at different times have entwined physical capacities and mental mechanisms in order to construct a body adapted to moral ideas or social circumstances — the body of a charismatic citizen or a visionary monk, a mirror image of the world or a reflection of the spirit.
Each volume emphasizes a particular perspective. Part 1 explores the human body’s relationship to the divine, to the bestial, and to the machines that imitate or simulate it. Part 2 covers the junctures between the body’s “outside” and “inside” by studying the manifestations — or production — of the soul and the expression of the emotions and, on another level, by examining the speculations inspired by cenesthesia, pain, and death. Part 3 brings into play the classical opposition between organ and function by showing how organs or bodily substances can be used to justify or challenge the way human societies function and, conversely, how political and social functions tend to make the bodies of the persons filling them the organs of a larger body — the social body or the universe as a whole.
Among the contributors to Fragments for a History of the Human Body are Mark Elvin, Catherine Gallagher, Françoise Héritier-Augé, Julia Kristeva, William R. LaFleur, Thomas W. Laqueur, Jacques Le Goff, Nicole Loraux, Mario Perniola, Hillel Schwartz, Jean Starobinski, Jean-Pierre Vernant, and Caroline Walker Bynum.
“ZONE is unequivocally the most innovative, informative, and intellectually stimulating journal I have ever encountered…It belongs in all but the smallest personal, public, and academic collections.” —Library Journal
Very Good copies all, only light wear, light page tanning. All first editions, second printings.
1984, Japanese
Softcover, 96 pages, 20 x 22.5 cm
1st Edition, Out of print title / used / very good
Published by
Cinefex / California
$70.00 - Out of stock
Rare early (no. 3) Winter 1984 issue of the mighty Cinefex journal, the Japanese edition, the in-depth cover feature of the publication is dedicated to the making of ALIEN, profusely illustrated throughout with the creature development of artist H.R. Giger, alongside the work of concept artists Ron Cobb and Chris Foss, drawings, paintings, behind-the-scenes and on-set photography, film stills, etc. of Ridley Scott and Dan O'Bannon's 1979 science fiction horror masterpiece, accompanied by text by Cinefex editor Don Shay (translated to Japanese). The second portion of the book dedicated to Twilight Zone The Movie, the 1983 film based on Rod Serling's 1959–1964 television series of the same name, featuring four stories directed by Landis, Spielberg, Joe Dante, and George Miller. One of the most collectible early issues, for obvious reasons.
Cinefex, founded by Don Shay in 1980, was a bimonthly journal covering visual effects in films. Each issue featured lengthy, detailed articles that described the creative and technical processes behind current films, the information drawn from interviews with the effects artists and technicians involved. Each issue also featured many behind-the-scenes photographs illustrating the progression of visual effects shots – from previsualization to final – as well as the execution of miniatures, pyrotechnics, makeup and other related effects.
Very Good copy with only light wear/age.
1987, Japanese
Softcover, 152 pages, 26 x 18 cm
1st Edition, Out of print title / used / very good
Published by
V-Zone / Japan
$100.00 - Out of stock
Fifth issue of V-Zone, the wild, short-lived cult horror/sci-fi/fantasy movie magazine from Japan, published between 1985-1987. Profiles/reviews/articles on Wicked City, Mutant Hunt, Trancers, From Beyond, The Vindicator, Critters, The Oracle, Crawl Space, Blue Velvet, April Fool's Day, Rome 2072, Squirm, a feature report from Festival d'Avoriaz '87 - the international fantasy film festival held in France - including a fold-out poster (backed with a Re-Animator mini poster), and so much more!
At the height of the home video revolution of the 1980s, V-Zone committed it's graphic-saturated pages to the explosion of horror, fantasy, and science fiction films that came with it. V-Zone's coverage of American horror is unparalleled in the world of Japanese magazines, but they also focused attention on historical and underground western science fiction and cult cinema, whilst also playing an important role in fostering the new wave of Japanese gore and V-Cinema (direct-to-video splatter films). Heavy with film features, interviews, stills, ads and reviews, each issue has amazing behind-the-scenes reportage from industry conventions and sfx fan parties, content you would not find anywhere but Japan, including a regular column by legendary Godzilla special effects artist Shinichi Wakasa on how to make your own SFX makeup, gore, and even craft realistic squibs with dimestore prophylactics. Needless to say, V-Zone is a must for any 1980s video collector or lover of gore.
1986, Japanese
Softcover, 98 pages, 30 x 21 cm
1st Edition, Out of print title / used / very good
Published by
V-Zone / Japan
$100.00 - Out of stock
November 1986 issue of V-Zone, the wild, short-lived cult horror/sci-fi/fantasy movie magazine from Japan, published between 1985-1987. Profiles/reviews/articles on the history of Troma, Guzoo: The Thing Forsaken by God, Highlander and director Russell Mulcahy, El Topo, Critters, The Horror Films of Byron Orlok, Lewis Carroll, Dreamchild (and Jim Henson), Night of The Comet, Creature, The Last Wave, Poltergeist 2, Texas Chainsaw Massacre 2, Breeders, Pleasure Planet, Mutant Hunt, Day of The Woman, Eyes of Fire, Oracle, Dario Argento, Thou Shalt Not kill, Evils of The Night, Aurora Encounter, Roller Blade, Raiders of the Living Dead, Planet of Dinosaurs, Big Trouble in Little China, Giger/Alien, Halloween, and so much more!
At the height of the home video revolution of the 1980s, V-Zone committed it's graphic-saturated pages to the explosion of horror, fantasy, and science fiction films that came with it. V-Zone's coverage of American horror is unparalleled in the world of Japanese magazines, but they also focused attention on historical and underground western science fiction and cult cinema, whilst also playing an important role in fostering the new wave of Japanese gore and V-Cinema (direct-to-video splatter films). Heavy with film features, interviews, stills, ads and reviews, each issue has amazing behind-the-scenes reportage from industry conventions and sfx fan parties, content you would not find anywhere but Japan, including a regular column by legendary Godzilla special effects artist Shinichi Wakasa on how to make your own SFX makeup, gore, and even craft realistic squibs with dimestore prophylactics. Needless to say, V-Zone is a must for any 1980s video collector or lover of gore.
1987, English
Softcover (staple-bound), 48 page, 28 x 21.5 cm
1st Edition, Out of print title / used / good
Published by
FantaCo / New York
$40.00 - Out of stock
DEEP RED No. 1, December 1987 — PREMIERE ISSUE!, Argento's INFERNO, What Happened to Tobe Hooper?, Interviews with David (LAST HOUSE ON THE LEFT) Hess and James (RETURN OF THE LIVING DEAD) Karen, Movies with Guts, News Slashes, Fulci's NEW YORK RIPPER, BLOOD DINER, Gore Scoreboard, New FX Artists, and much more!
Deep Red was a trailblazing US splatter zine, edited by the man Lucio Fulci ("The Poet of the Macabre") christened “The King of Splatter Films”, Chas Balun (1948—2009). Born a 20-page self-published fanzine in July 1986, the iconoclastic Deep Red was published as 7 issues by FantaCo between 1987—1989, fuelling the Splat-pack revolution of the late '80's and '90s. A horror fan's horror fan, Chas Balun's art, graphic design, movie commentary, and Splat-Gonzo writing style of caustic wit, intelligence and unbridled enthusiasm were unparalleled in the blood-soaked pages of Deep Red, popularizing the term “chunkblower” and introducing obscure Italian and Asian gore films to American heads. Balun's wholehearted and unapologetic love for hardcore cinematic gore spawned many underground classic books of the genre, including Horror Halocaust, The Gore Score, and Lucio Fulci: Beyond The Gates, as well as his memorable contributions to Fangoria and Gorezone, where he achieved his greatest enduring cult fame with his fiercely caustic, outspoken, and opinionated "Piece of Mind" column that ran from 1988 to 1991 and was one of the most popular and beloved features in the magazine. Balun's championing of the mad masters of practical effects also really set DEEP RED apart, committing plenty of magazine pages to the mechanics of terror in each issue.
Good copy.
1988, English
Softcover (staple-bound), 64 page, 28 x 21.5 cm
1st Edition, Out of print title / used / good
Published by
FantaCo / New York
$40.00 - Out of stock
DEEP RED No. 2, March 1988 — Foreign and domestic ZOMBIES, Clive Barker's HELLRAISER, DOCTOR BUTCHER, Gunnar Hansen's Post-Chainsaw Dating Etiquette, Interview with Mark (EVIL DEAD 2, FROM BEYOND) Shostrom, Fanzines A-Z, Sybil Danning, Video Dog House, Gore Scoreboard, and much more!
Deep Red was a trailblazing US splatter zine, edited by the man Lucio Fulci ("The Poet of the Macabre") christened “The King of Splatter Films”, Chas Balun (1948—2009). Born a 20-page self-published fanzine in July 1986, the iconoclastic Deep Red was published as 7 issues by FantaCo between 1987—1989, fuelling the Splat-pack revolution of the late '80's and '90s. A horror fan's horror fan, Chas Balun's art, graphic design, movie commentary, and Splat-Gonzo writing style of caustic wit, intelligence and unbridled enthusiasm were unparalleled in the blood-soaked pages of Deep Red, popularizing the term “chunkblower” and introducing obscure Italian and Asian gore films to American heads. Balun's wholehearted and unapologetic love for hardcore cinematic gore spawned many underground classic books of the genre, including Horror Halocaust, The Gore Score, and Lucio Fulci: Beyond The Gates, as well as his memorable contributions to Fangoria and Gorezone, where he achieved his greatest enduring cult fame with his fiercely caustic, outspoken, and opinionated "Piece of Mind" column that ran from 1988 to 1991 and was one of the most popular and beloved features in the magazine. Balun's championing of the mad masters of practical effects also really set DEEP RED apart, committing plenty of magazine pages to the mechanics of terror in each issue.
Good copy.
1989, English
Softcover (staple-bound), 72 page, 28 x 21.5 cm
1st Edition, Out of print title / used / good
Published by
FantaCo / New York
$40.00 - Out of stock
DEEP RED No. 3, June 1988 — Exclusive 14-Page Interview with Tom Savini, In-Depth Analysis of COMBAT SHOCK, New FX Artists, H.P. Lovecraft, Forrest J. Ackerman Interview, Uncut - SLAUGHTER- HOUSE, Video Pick-O-The-Pack, Gore Scoreboard, Loaded with Rare Stills, and much more!
Deep Red was a trailblazing US splatter zine, edited by the man Lucio Fulci ("The Poet of the Macabre") christened “The King of Splatter Films”, Chas Balun (1948—2009). Born a 20-page self-published fanzine in July 1986, the iconoclastic Deep Red was published as 7 issues by FantaCo between 1987—1989, fuelling the Splat-pack revolution of the late '80's and '90s. A horror fan's horror fan, Chas Balun's art, graphic design, movie commentary, and Splat-Gonzo writing style of caustic wit, intelligence and unbridled enthusiasm were unparalleled in the blood-soaked pages of Deep Red, popularizing the term “chunkblower” and introducing obscure Italian and Asian gore films to American heads. Balun's wholehearted and unapologetic love for hardcore cinematic gore spawned many underground classic books of the genre, including Horror Halocaust, The Gore Score, and Lucio Fulci: Beyond The Gates, as well as his memorable contributions to Fangoria and Gorezone, where he achieved his greatest enduring cult fame with his fiercely caustic, outspoken, and opinionated "Piece of Mind" column that ran from 1988 to 1991 and was one of the most popular and beloved features in the magazine. Balun's championing of the mad masters of practical effects also really set DEEP RED apart, committing plenty of magazine pages to the mechanics of terror in each issue.
Good copy.
1988, English
Softcover (staple-bound), 48 page, 28 x 21.5 cm
1st Edition, Out of print title / used / good
Published by
FantaCo / New York
$30.00 - Out of stock
DEEP RED No. 5, December 1988 — Censorship in Europe, Profile of John (GATES OF HELL, CANNIBAL FEROX) Morghen (Giovanni Lombardo Radice), Films of Peter Walker, Fanzine Update, Horror Ob- scurities, LONG ISLAND CANNIBAL MASSACRE, Mark Williams FX, Gallery of Rare Ad Mats!, and much more!
Deep Red was a trailblazing US splatter zine, edited by the man Lucio Fulci ("The Poet of the Macabre") christened “The King of Splatter Films”, Chas Balun (1948—2009). Born a 20-page self-published fanzine in July 1986, the iconoclastic Deep Red was published as 7 issues by FantaCo between 1987—1989, fuelling the Splat-pack revolution of the late '80's and '90s. A horror fan's horror fan, Chas Balun's art, graphic design, movie commentary, and Splat-Gonzo writing style of caustic wit, intelligence and unbridled enthusiasm were unparalleled in the blood-soaked pages of Deep Red, popularizing the term “chunkblower” and introducing obscure Italian and Asian gore films to American heads. Balun's wholehearted and unapologetic love for hardcore cinematic gore spawned many underground classic books of the genre, including Horror Halocaust, The Gore Score, and Lucio Fulci: Beyond The Gates, as well as his memorable contributions to Fangoria and Gorezone, where he achieved his greatest enduring cult fame with his fiercely caustic, outspoken, and opinionated "Piece of Mind" column that ran from 1988 to 1991 and was one of the most popular and beloved features in the magazine. Balun's championing of the mad masters of practical effects also really set DEEP RED apart, committing plenty of magazine pages to the mechanics of terror in each issue.
Good copy.
1989, English
Softcover (staple-bound), 48 page, 28 x 21.5 cm
1st Edition, Out of print title / used / good
Published by
FantaCo / New York
$30.00 - Out of stock
DEEP RED No. 6, March 1989 — "Cruelty. Carnage & Christianity", Steve Bissette Interview, Goblin's Splatter Soundtracks (Music To Bleed By), Dario Argento, Directors' Forum — Pericles Lewnes, Nathan Schiff, Buddy Giovinazzo, Spawn 2, FantaCo Horror Con Coverage, NINTH & HELL STREET excerpt, Splatter Art, Foreign Gore, Mass Horror, Gore Scoreboard, Bloody Bookshelf, and much more!
Deep Red was a trailblazing US splatter zine, edited by the man Lucio Fulci ("The Poet of the Macabre") christened “The King of Splatter Films”, Chas Balun (1948—2009). Born a 20-page self-published fanzine in July 1986, the iconoclastic Deep Red was published as 7 issues by FantaCo between 1987—1989, fuelling the Splat-pack revolution of the late '80's and '90s. A horror fan's horror fan, Chas Balun's art, graphic design, movie commentary, and Splat-Gonzo writing style of caustic wit, intelligence and unbridled enthusiasm were unparalleled in the blood-soaked pages of Deep Red, popularizing the term “chunkblower” and introducing obscure Italian and Asian gore films to American heads. Balun's wholehearted and unapologetic love for hardcore cinematic gore spawned many underground classic books of the genre, including Horror Halocaust, The Gore Score, and Lucio Fulci: Beyond The Gates, as well as his memorable contributions to Fangoria and Gorezone, where he achieved his greatest enduring cult fame with his fiercely caustic, outspoken, and opinionated "Piece of Mind" column that ran from 1988 to 1991 and was one of the most popular and beloved features in the magazine. Balun's championing of the mad masters of practical effects also really set DEEP RED apart, committing plenty of magazine pages to the mechanics of terror in each issue.
Good copy.
1990, English
Softcover (staple-bound), 40 pages, 29.5 x 21 cm
1st Edition, Out of print title / used / good
Published by
Fatal Visions / Northcote
$25.00 - Out of stock
Fatal Visions No. 8, 1990 — SEXY GIRLS WITH SEXY GUNS cover, features Peter Jackson, The Cramps, Chinatown Beat, An American Trash Film Tour, Confessions from the Porn Industry, reviews on everything degenerate in publishing, video, the cinema...
Fatal Visions was a cult horror/exploitation film magazine from Melbourne, Australia, published and edited by journalist Michael Helms between 1988—1998, when publishing still had teeth. Starting out as a photocopied fanzine, the magazine was published two or three times a year, packed with reviews and interviews by a whole host of esteemed contributors, graphic assistance from the likes of Ian and Andrew Haig, branded by Philip Brophy and entirely devoted to "Very Frequent High-Level Violence, Sex, Coarse Language & Drug Use" aka horror, action and exploitation movies, cult TV and publishing, animation and all manner of associated underground trash/freak/sleaze publishing and video culture. Very notable for it's Chinatown Beat content and early coverage of Hong Kong action/exploitation due to its proximity to the Chinatown Cinema theaters in Melbourne. Editor Michael Helms has been writing about horror films made in Australia for Fangoria and contributing to France's L’Écran Fantastique and other international genre press for the best part of the last 25 years. Fatal Visions is great. Features loads of adverts from the annals a lost Melbourne. Self-publish or die.
Good copy, general wear.
1990, English
Softcover (staple-bound), 40 pages, 29.5 x 21 cm
1st Edition, Out of print title / used / good
Published by
Fatal Visions / Northcote
$25.00 - Out of stock
Fatal Visions No. 9, 1990 — THE KRAYS cover, features John Wayne Gacy, Alejandro Jodorowsky, John Waters, Ari Roussimoff and Chu Yuen, Chinatown Beat, An American Trash Film Tour, Hong Kong on Tape, Women with Blades, Monsters, Gunmen, reviews on everything degenerate in publishing, video, the cinema...
Fatal Visions was a cult horror/exploitation film magazine from Melbourne, Australia, published and edited by journalist Michael Helms between 1988—1998, when publishing still had teeth. Starting out as a photocopied fanzine, the magazine was published two or three times a year, packed with reviews and interviews by a whole host of esteemed contributors, graphic assistance from the likes of Ian and Andrew Haig, branded by Philip Brophy and entirely devoted to "Very Frequent High-Level Violence, Sex, Coarse Language & Drug Use" aka horror, action and exploitation movies, cult TV and publishing, animation and all manner of associated underground trash/freak/sleaze publishing and video culture. Very notable for it's Chinatown Beat content and early coverage of Hong Kong action/exploitation due to its proximity to the Chinatown Cinema theaters in Melbourne. Editor Michael Helms has been writing about horror films made in Australia for Fangoria and contributing to France's L’Écran Fantastique and other international genre press for the best part of the last 25 years. Fatal Visions is great. Features loads of adverts from the annals a lost Melbourne. Self-publish or die.
Good copy, general wear.
1992, English
Softcover (staple-bound), 40 pages, 29.5 x 21 cm
1st Edition, Out of print title / used / good
Published by
Fatal Visions / Northcote
$25.00 - In stock -
Fatal Visions No. 12, 1992 — NAKED LUNCH cover, features Cannibal Ottis Toole, Annie Sprinkle, Tsui Hark, Freddy Krueger, Tom Towles, Blood Lust, Chinatown Beat, reviews on everything degenerate in publishing, video, the cinema...
Fatal Visions was a cult horror/exploitation film magazine from Melbourne, Australia, published and edited by journalist Michael Helms between 1988—1998, when publishing still had teeth. Starting out as a photocopied fanzine, the magazine was published two or three times a year, packed with reviews and interviews by a whole host of esteemed contributors, graphic assistance from the likes of Ian and Andrew Haig, branded by Philip Brophy and entirely devoted to "Very Frequent High-Level Violence, Sex, Coarse Language & Drug Use" aka horror, action and exploitation movies, cult TV and publishing, animation and all manner of associated underground trash/freak/sleaze publishing and video culture. Very notable for it's Chinatown Beat content and early coverage of Hong Kong action/exploitation due to its proximity to the Chinatown Cinema theaters in Melbourne. Editor Michael Helms has been writing about horror films made in Australia for Fangoria and contributing to France's L’Écran Fantastique and other international genre press for the best part of the last 25 years. Fatal Visions is great. Features loads of adverts from the annals a lost Melbourne. Self-publish or die.
Good copy, general wear.
1992, English
Softcover (staple-bound), 40 pages, 29.5 x 21 cm
1st Edition, Out of print title / used / good
Published by
Fatal Visions / Northcote
$25.00 - Out of stock
Fatal Visions No. 13, 1992 — BRAINDEAD cover, features Mexploitation, Tsui Hark, BRAINDEAD, Hyapatia Lee (Vicki Lynch), Chinatown Beat, interview with a Necrophile, Danny Partridge, Noise, reviews on everything degenerate in publishing, video, the cinema...
Fatal Visions was a cult horror/exploitation film magazine from Melbourne, Australia, published and edited by journalist Michael Helms between 1988—1998, when publishing still had teeth. Starting out as a photocopied fanzine, the magazine was published two or three times a year, packed with reviews and interviews by a whole host of esteemed contributors, graphic assistance from the likes of Ian and Andrew Haig, branded by Philip Brophy and entirely devoted to "Very Frequent High-Level Violence, Sex, Coarse Language & Drug Use" aka horror, action and exploitation movies, cult TV and publishing, animation and all manner of associated underground trash/freak/sleaze publishing and video culture. Very notable for it's Chinatown Beat content and early coverage of Hong Kong action/exploitation due to its proximity to the Chinatown Cinema theaters in Melbourne. Editor Michael Helms has been writing about horror films made in Australia for Fangoria and contributing to France's L’Écran Fantastique and other international genre press for the best part of the last 25 years. Fatal Visions is great. Features loads of adverts from the annals a lost Melbourne. Self-publish or die.
Good copy, general wear.
1993, English
Softcover (staple-bound), 40 pages, 29.5 x 21 cm
Published by
Fatal Visions / Northcote
$25.00 - Out of stock
Fatal Visions No. 14, 1993 — BODY MELT cover, features Sam Raimi, Cynthia Rothrock, Mexploitation, Chinatown Beat, BODY MELT, reviews on everything degenerate in publishing, video, the cinema...
Fatal Visions was a cult horror/exploitation film magazine from Melbourne, Australia, published and edited by journalist Michael Helms between 1988—1998, when publishing still had teeth. Starting out as a photocopied fanzine, the magazine was published two or three times a year, packed with reviews and interviews by a whole host of esteemed contributors, graphic assistance from the likes of Ian and Andrew Haig, branded by Philip Brophy and entirely devoted to "Very Frequent High-Level Violence, Sex, Coarse Language & Drug Use" aka horror, action and exploitation movies, cult TV and publishing, animation and all manner of associated underground trash/freak/sleaze publishing and video culture. Very notable for it's Chinatown Beat content and early coverage of Hong Kong action/exploitation due to its proximity to the Chinatown Cinema theaters in Melbourne. Editor Michael Helms has been writing about horror films made in Australia for Fangoria and contributing to France's L’Écran Fantastique and other international genre press for the best part of the last 25 years. Fatal Visions is great. Features loads of adverts from the annals a lost Melbourne. Self-publish or die.
Good copy, general wear.
1993, English
Softcover (staple-bound), 40 pages, 29.5 x 21 cm
Published by
Fatal Visions / Northcote
$25.00 - In stock -
Fatal Visions No. 15, 1993 — Angela Dorian cover, features Ari Roussimoff and The Green River Killer, Ringo Lam, Dan Simmons, Cult TV, Chinatown Beat, Melbourne Film Fest '93, Melbourne videostore guide, reviews on everything degenerate in publishing, video, the cinema...
Fatal Visions was a cult horror/exploitation film magazine from Melbourne, Australia, published and edited by journalist Michael Helms between 1988—1998, when publishing still had teeth. Starting out as a photocopied fanzine, the magazine was published two or three times a year, packed with reviews and interviews by a whole host of esteemed contributors, graphic assistance from the likes of Ian and Andrew Haig, branded by Philip Brophy and entirely devoted to "Very Frequent High-Level Violence, Sex, Coarse Language & Drug Use" aka horror, action and exploitation movies, cult TV and publishing, animation and all manner of associated underground trash/freak/sleaze publishing and video culture. Very notable for it's Chinatown Beat content and early coverage of Hong Kong action/exploitation due to its proximity to the Chinatown Cinema theaters in Melbourne. Editor Michael Helms has been writing about horror films made in Australia for Fangoria and contributing to France's L’Écran Fantastique and other international genre press for the best part of the last 25 years. Fatal Visions is great. Features loads of adverts from the annals a lost Melbourne. Self-publish or die.
Good copy, general wear.
1994, English
Softcover (staple-bound), 40 pages, 29.5 x 21 cm
1st Edition, Out of print title / used / good
Published by
Fatal Visions / Northcote
$25.00 - Out of stock
Fatal Visions No. 16, 1994 — Wicked City cover, features Lance Henriksen, Ren & Stimpy, cult TV in '93, Chinatown Beat, wrestler/porn actress Tiffany Million, Gerard John Schaefer interviews Betsy Blood, reviews on everything degenerate in publishing, video, the cinema...
Fatal Visions was a cult horror/exploitation film magazine from Melbourne, Australia, published and edited by journalist Michael Helms between 1988—1998, when publishing still had teeth. Starting out as a photocopied fanzine, the magazine was published two or three times a year, packed with reviews and interviews by a whole host of esteemed contributors, graphic assistance from the likes of Ian and Andrew Haig, branded by Philip Brophy and entirely devoted to "Very Frequent High-Level Violence, Sex, Coarse Language & Drug Use" aka horror, action and exploitation movies, cult TV and publishing, animation and all manner of associated underground trash/freak/sleaze publishing and video culture. Very notable for it's Chinatown Beat content and early coverage of Hong Kong action/exploitation due to its proximity to the Chinatown Cinema theaters in Melbourne. Editor Michael Helms has been writing about horror films made in Australia for Fangoria and contributing to France's L’Écran Fantastique and other international genre press for the best part of the last 25 years. Fatal Visions is great. Features loads of adverts from the annals a lost Melbourne. Self-publish or die.
Good copy, general wear.
1994, English
Softcover (staple-bound), 40 pages, 29.5 x 21 cm
1st Edition, Out of print title / used / good
Published by
Fatal Visions / Northcote
$25.00 - Out of stock
Fatal Visions No. 17, 1994 — BAD BOY BUBBY cover, features John Woo, Ringo Lam, EYEBALL in Asia, Melbourne Filmfest Corpse 1994, Chinatown Beat, Ren & Stimpy, The Crow, UFO Dave, reviews on everything degenerate in publishing, video, the cinema...
Fatal Visions was a cult horror/exploitation film magazine from Melbourne, Australia, published and edited by journalist Michael Helms between 1988—1998, when publishing still had teeth. Starting out as a photocopied fanzine, the magazine was published two or three times a year, packed with reviews and interviews by a whole host of esteemed contributors, graphic assistance from the likes of Ian and Andrew Haig, branded by Philip Brophy and entirely devoted to "Very Frequent High-Level Violence, Sex, Coarse Language & Drug Use" aka horror, action and exploitation movies, cult TV and publishing, animation and all manner of associated underground trash/freak/sleaze publishing and video culture. Very notable for it's Chinatown Beat content and early coverage of Hong Kong action/exploitation due to its proximity to the Chinatown Cinema theaters in Melbourne. Editor Michael Helms has been writing about horror films made in Australia for Fangoria and contributing to France's L’Écran Fantastique and other international genre press for the best part of the last 25 years. Fatal Visions is great. Features loads of adverts from the annals a lost Melbourne. Self-publish or die.
Good copy, general wear.
1987, English
Softcover (staple-bound), 34 pages, 30 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Shock Xpress / London
$25.00 - Out of stock
SHOCK XPRESS Vol. 2 Issue 1, Summer 1987 — Sam Raimi & Bruce Campbell Interviewed! Ramsey Campbell Meets Mary Whitehouse! David Cronenberg On Maggot Birth! William F. Nolan's Top 10 Horrors! Joe D'amato Filmography! Herschell Gordon Lewis! Carradine, Chaney & Jerry Warren! Reviews Of: Last House On Dead End Street... The Hunchback Of The Morgue... Evil Dead Six-Breasted Punk Ii... Body Count... Witches In Necropolis And Many More!! Fanzines! Video Reviews! Abnormal Readers' Letters! Ranting! Decay! Dissolution! More Of It!
Shock Xpress was a cult 1980's UK horror/exploitation magazine edited by Skullflower/Ascension guitarist Stefan Jaworzyn, featuring the film writings of Stephen Thrower, Anne Billson, Julian Grainger, George Kuchar, Ramsey Campbell, Kim Newman, Jack Stevenson, David Kerekes, David McGillivray, Alan Jones, and Jaworzyn. The launching pad for some of the best genre writers, Shock Xpress covered the excesses of the world of horror, exploitation and all manner of underground cinema, contemporary and historical, through incredible interviews, articles and a wealth of reviews littered with rare film stills, on set and behind-the-scenes photos, lobby cards, posters, cinema adverts...
"Really is the essential guide to exploitation cinema"—Film Review
"Watch out, though, the magazine is nearly undermined by its persistent mean spiritedness towards films and fans alike. Worth the abuse, though."— Chas Balun, DEEP RED
G—VG copy.
1987, English
Softcover (staplebound), 34 pages, 30 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Shock Xpress / London
$25.00 - Out of stock
SHOCK XPRESS Vol. 2 Issue 2, Winter 1987 — Frank Henenlotter Interviewed! Riccardo Freda Filmography! Brian De Palma On Being Untouchable! Shaun Hutson's Top Ten Horrors! Tobe Hooper On Chainsaws! Faces Of Death Exposed! Brad F. Grinter Rediscovered! Reviews Season Trashed! Video Reviews! Rabid Of: Combat Shock... Night Of The Sorcerors... The Opening Of Misty Beethoven. River's Edge... Blood Freak...And Many More! Hammer Correspondence! Vileness! Vitriol! Venom! Too Much! Vol. 2 Issue 2. £1.25 Riccardo Freda Tobe Hooper
Shock Xpress was a cult 1980's UK horror/exploitation magazine edited by Skullflower/Ascension guitarist Stefan Jaworzyn, featuring the film writings of Stephen Thrower, Anne Billson, Julian Grainger, George Kuchar, Ramsey Campbell, Kim Newman, Jack Stevenson, David Kerekes, David McGillivray, Alan Jones, and Jaworzyn. The launching pad for some of the best genre writers, Shock Xpress covered the excesses of the world of horror, exploitation and all manner of underground cinema, contemporary and historical, through incredible interviews, articles and a wealth of reviews littered with rare film stills, on set and behind-the-scenes photos, lobby cards, posters, cinema adverts...
"Really is the essential guide to exploitation cinema"—Film Review
"Watch out, though, the magazine is nearly undermined by its persistent mean spiritedness towards films and fans alike. Worth the abuse, though."— Chas Balun, DEEP RED
G—VG copy.
1988/89, English
Softcover (staple-bound), 40 pages, 30 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Shock Xpress / London
$25.00 - In stock -
SHOCK XPRESS Vol. 2 Issue 5, Winter 1988/89 — Interviews With David Cronenberg, Ken Russell, Chris Wicking, And Ray Dennis Steckler! The History Of Biker Movies! A Farewell To John Carradine! All The Dirt On Ruggero Deodato! Director Of Zombie Brigade Confesses All! Demented Sleaze-Monger George Kuchar! Temptation Of Christ...And More! Pitiful Correspondence! Reviews Of The Brain From Planet Arous...The Love Thrill Murders...Night Of The Devils...Jesus: Der Film...The Last Irreverence! Irritation! Irrelevance! Ugh!
Shock Xpress was a cult 1980's UK horror/exploitation magazine edited by Skullflower/Ascension guitarist Stefan Jaworzyn, featuring the film writings of Stephen Thrower, Anne Billson, Julian Grainger, George Kuchar, Ramsey Campbell, Kim Newman, Jack Stevenson, David Kerekes, David McGillivray, Alan Jones, and Jaworzyn. The launching pad for some of the best genre writers, Shock Xpress covered the excesses of the world of horror, exploitation and all manner of underground cinema, contemporary and historical, through incredible interviews, articles and a wealth of reviews littered with rare film stills, on set and behind-the-scenes photos, lobby cards, posters, cinema adverts...
"Really is the essential guide to exploitation cinema"—Film Review
"Watch out, though, the magazine is nearly undermined by its persistent mean spiritedness towards films and fans alike. Worth the abuse, though."— Chas Balun, DEEP RED
G—VG copy.
1989, English
Softcover (staple-bound), 42 pages, 30 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Shock Xpress / London
$25.00 - Out of stock
SHOCK XPRESS Vol. 3 Issue 1, Summer 1989 — Jesus Franco! Al Adamson! Clive Barker! David Cronenberg! Frank Laloggia! Eric Red! Plus: Hallucinogens On Film! Transcendental Nightmares! 'Career' Retrospectives On: Chuck Vincent And S.F Brown- Rigg! Weird Films Reviewed: 2 Female Spies With Flowered Panties... Don't Scream, It's Only A Movie...The Impure...What Have They Done To Our Daughters...Voodoo Man... And More! Exultations! Ejaculations! Expostualtions!
Shock Xpress was a cult 1980's UK horror/exploitation magazine edited by Skullflower/Ascension guitarist Stefan Jaworzyn, featuring the film writings of Stephen Thrower, Anne Billson, Julian Grainger, George Kuchar, Ramsey Campbell, Kim Newman, Jack Stevenson, David Kerekes, David McGillivray, Alan Jones, and Jaworzyn. The launching pad for some of the best genre writers, Shock Xpress covered the excesses of the world of horror, exploitation and all manner of underground cinema, contemporary and historical, through incredible interviews, articles and a wealth of reviews littered with rare film stills, on set and behind-the-scenes photos, lobby cards, posters, cinema adverts...
"Really is the essential guide to exploitation cinema"—Film Review
"Watch out, though, the magazine is nearly undermined by its persistent mean spiritedness towards films and fans alike. Worth the abuse, though."— Chas Balun, DEEP RED
G—VG copy.