John Carpenter's Halloween, released on October 25, 1978, marked the beginning of the horror film's most colorful, controversial, and successful offshoot--the slasher film. Loved by fans and reviled by critics for its iconic psychopaths, gory special effects, brainless teenagers in peril, and more than a bit of soft-core sex, the slasher film secured its legacy as a cultural phenomenon and continues to be popular today. This work traces the evolution of the slasher film from 1978 when it was a fledgling genre, through the early 1980s when it was one of the most profitable and prolific genres in Hollywood, on to its decline in popularity around 1986. An introduction provides a brief history of the Grand Guignol, the pre-cinema forerunner of the slasher film, films such as Psycho and The Texas Chainsaw Massacre, and cinematic trends that gave rise to the slasher film. Also explained are the slasher film's characteristics, conventions, and cinematic devices, such as the "final girl," the omnipotent killer, the relationship between sex and death, the significant date or setting, and the point-of-view of the killer. The chapters that follow are devoted to the years 1978 through 1986 and analyze significant films from each year. The Toolbox Murders, When a Stranger Calls, the Friday the 13th movies, My Bloody Valentine, The Slumber Party Massacre, Psycho II, and April Fool's Day are among those analyzed. The late 90s resurrection of slasher films, as seen in Scream and I Know What You Did Last Summer, is also explored, as well as the future direction of slasher films.

An intimate guide to self-acceptance and discovery that offers a Buddhist perspective on wholeness within the framework of a Western understanding of self. For decades, Western psychology has promised fulfillment through building and strengthening the ego. We are taught that the ideal is a strong, individuated self, constructed and reinforced over a lifetime. But Buddhist psychiatrist Mark Epstein has found a different way. Going to Pieces Without Falling Apart shows us that happiness doesn't come from any kind of acquisitiveness, be it material or psychological. Happiness comes from letting go. Weaving together the accumulated wisdom of his two worlds--Buddhism and Western psychotherapy—Epstein shows how "the happiness that we seek depends on our ability to balance the ego's need to do with our inherent capacity to be." He encourages us to relax the ever-vigilant mind in order to experience the freedom that comes only from relinquishing control. Drawing on events in his own life and stories from his patients, Going to Pieces Without Falling Apart teaches us that only by letting go can we start on the path to a more peaceful and spiritually satisfying life.

When her mother disappears during a business trip, seventeen-year-old Anne discovers that her family harbors many dark secrets.

Expresses the love between animals and their babies using mosaic artwork illustrations.

How do you repair a broken life? Home is a dark place of anguish and pain for seventeen-year-old Bree Jacobs, forced to endure emotional and physical torment daily at the hands of a violently unstable mother. Bree's only escape is high school, particularly her history class taught by young, handsome, kind and caring Axel Taylor. Mr. Taylor becomes Bree's dearest friend, a sympathetic ear and a shoulder to cry on, and soon their shared affection grows into something greater. But by reaching out to protect her-to mend her breaks and soothe her wounds-Axel has crossed a dangerous line, resulting in two shattered lives instead of just one. Six years later, they will meet again: Bree, still battling the demons that continue to possess her, and Axel, reduced to taking work as a substitute teacher wherever he can find it. Once again he will feel compelled to rescue her. But this time it will be different, because now the yearnings of a loving heart won't be silenced by suspicious minds. And now there's more than one life that desperately needs saving.

Combining in-depth analysis with over 200 film reviews, 'Legacy of Blood' is a comprehensive examination of the slasher movie and its conventions to date, from 'Halloweeen' to 'Scream' and beyond.

#1 NEW YORK TIMES BESTSELLER "A haunting, beautiful, and necessary book."—Nicola Yoon, #1 New York Times bestselling author of Everything, Everything Charlotte Davis is in pieces. At seventeen she’s already lost more than most people do in a lifetime. But she’s learned how to forget. The broken glass washes away the sorrow until there is nothing but calm. You don’t have to think about your father and the river. Your best friend, who is gone forever. Or your mother, who has nothing left to give you. Every new scar hardens Charlie’s heart just a little more, yet it still hurts so much. It hurts enough to not care anymore, which is sometimes what has to happen before you can find your way back from the edge. A deeply moving portrait of a girl in a world that owes her nothing, and has taken so much, and the journey she undergoes to put herself back together. Kathleen Glasgow's debut is heartbreakingly real and unflinchingly honest. It’s a story you won’t be able to look away from. And don’t miss Kathleen Glasgow's novels You’d Be Home Now and How to Make Friends with the Dark, both raw and powerful stories of life.

Scholars have consistently applied psychoanalytic models to representations of gender in early teen slasher films such as Black Christmas (1974), Halloween (1978) and Friday the 13th (1980) in order to claim that these were formulaic, excessively violent exploitation films, fashioned to satisfy the misogynist fantasies of teenage boys and grind house patrons. However, by examining the commercial logic, strategies and objectives of the American and Canadian independents that produced the films and the companies that distributed them in the US, Blood Money demonstrates that filmmakers and marketers actually went to extraordinary lengths to make early teen slashers attractive to female youth, to minimize displays of violence, gore and suffering and to invite comparisons to a wide range of post-classical Hollywood's biggest hits; including Love Story (1970), The Exorcist (1973), Saturday Night Fever (1977), Grease and Animal House (both 1978). Blood Money is a remarkable piece of scholarship that highlights the many forces that helped establish the teen slasher as a key component of the North American film industry's repertoire of youth-market product.

The term "slasher film" was common parlance by the mid-1980s but the horror subgenre it describes was at least a decade old by then--formerly referred to as "stalker," "psycho" or "slice-'em-up." Examining 74 movies--from The Texas Chainsaw Massacre (1974) to Texas Chainsaw 3D (2013)--the author identifies the characteristic elements of the subgenre while tracing changes in narrative patterns over the decades. The slasher canon is divided into three eras: the classical (1974-1993), the self-referential (1994-2000) and the neoslasher cycle (2000-2013).

In this first book of a three-book series, author Vannetta Chapman brings a fresh twist to the popular Amish fiction genre. She blends the familiar components consumers love in Amish books—faith, community, simplicity, family—with an innovative who-done-it plot that keeps readers guessing right up to the last stitch in the quilt. When two women—one Amish, one English—each with different motives, join forces to organize a successful on-line quilt auction, neither expects nor wants a friendship. As different as night and day, Deborah and Callie are uneasy partners who simply want to make the best of a temporary situation. But a murder, a surprising prime suspect, a stubborn detective, and the town's reaction throw the two women together, and they form an unlikely alliance to solve a mystery and catch a killer. Set in the well-known Amish community of Shipshewana, Falling to Pieces will attract both devoted fans of the rapidly-growing Amish fiction genre, as well as those who are captivated by the Amish way of life.