Download e-book for iPad: Angel Dust Apocalypse by Jeremy Robert Johnson
By Jeremy Robert Johnson
Author note: advent via Stephen Graham Jones
Publish 12 months note: First released February tenth 2005 by way of Eraserhead Press
NEW 2012 AUTHOR'S most popular variation on hand in basic terms during this electronic format!
"A astonishing author. heavily awesome brief stories--and i like brief tales. just like the better of Tobias Wolff. whereas I learn them, they made time stand nonetheless. That's great."--CHUCK PALAHNIUK, writer of struggle Club
Meth-heads, man-made monsters, and murderous Neo-Nazis. Blissed out membership young children demise on the pace of sound. The un-dead and the very soon-to-be-dead. They're all the following, attempting to claw their method free.
From the radioactive streets of a war-scarred destiny, the place the nuclear bombs became self-aware, to the fallow fields of Nebraska the place the youngsters are mainlining lightning insects, it is a global either alien and extremely human. this can be a position the place self-discovery contains scalpels and horse tranquilizers; the place the medical professionals are extra doped-up than the sufferers; the place obsessive-compulsive acid-freaks have unlocked the gateway to God and can't shut the door.
This isn't really a secure position. you could flip again now, otherwise you can head instantly into the guts of...
the ANGEL airborne dirt and dust APOCALYPSE
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Additional resources for Angel Dust Apocalypse
She calls these types of ﬁlm body genres since they all feature bodily excess (and it is important that the excessive body is most often gendered female) and the ﬁlms rely on the spectacle of the body undergoing intense uncontrollable emotions. Obviously, these spectacles of emotion are intended to be mirrored in the spectator. In the horror ﬁlm, this is in the ‘portrayal of violence and terror’ in which the body is out of control, ‘beside itself ’ with fear (2003: 144). Williams suggests that the aesthetic of the horror ﬁlm is designed to bring about intense sensations of fear, in other words to provoke aﬀective experiences around depictions of violence.
There are two aspects worth considering further here. The ﬁrst of these is related to who exactly horror ﬁlm viewers are: what demographic groups make up the audience, what speciﬁc tastes and preferences they have in terms of diﬀerent types or styles of horror, and what the relative proportions of each are (that is, how important each audience segment might be in economic terms to the industry and how high proﬁle the segment might be in inﬂuencing what types of horror ﬁlms get made). The second is how horror cinema depends upon speciﬁc intended responses in its construction, and in particular how it plays on these in the production, marketing and exhibition of diﬀerent conceptual categories of horror.
In his account of what he calls the ‘fantastic terror ﬁlm’, he suggests (1980: 7) that there are two denotations of the word horror. The ﬁrst, which he terms ‘horriﬁc’, is deﬁned as ‘an emotion compounded of fear and loathing’. The second he describes as a ‘feeling of awe and imaginative fear’, and he gives this the label ‘uncanny’. In this way, Prawer does not deﬁne the horror ﬁlm, or the ‘cinematic tale of terror’ as he calls it, in terms of a set of narrative or aesthetic characteristics, but rather links his deﬁnition to how the horror ﬁlm works on its audience.
Angel Dust Apocalypse by Jeremy Robert Johnson