conversations.from: human
conversations.value: What could be a title for a book about DIV><B>the, I>From, Tomb</I with the genre: New, Used & Rental Textbooks, Humanities?
conversations.from: assistant
conversations.value: A title for this book could be 'The Mammoth Book of Slasher Movies'
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conversations.value: Provide the first five paragraphs for this book.
conversations.from: assistant
conversations.value: The Mammoth Book of Slasher Movies
  Alongside Dallamano was his tireless cameraman Joe D'Amato, no more than a dozen films into the two hundred or so features upon which he would come to work. Under the supervision of his experienced director, he assisted in creating the eerie air that has come to characterize this feature, which would later be reproduced in his own creations **Buio Omega** (1979), **Antropophagus** (1980) and **Absurd** (1981). This was augmented by Ennio Morricone's haunting score that suffused the melancholy in the wake of these terrible murders, each of which was left to the audience's imagination.
  LONELY MIDDLE-AGED Molly (Millie Perkins) works by night as a barmaid at a seaside bar and spends her days babysitting her nephews, telling them seafaring stories where her father is always portrayed as the hero. Her tales hint at an obsession with the ocean and sailing lore, which seek to fascinate and in time reveal a discernible sense of self-loathing. It becomes obvious that her sister, Cathy (Vanessa Brown), is not entirely at ease with her company, but for the moment we are not sure why. From the beach, she admires the muscular guys as they work out and parade before their on-looking admirers and then drifts into fantasies about their powerful physiques. Her fantasies display violent tendencies as she lures these burly men to her home and in a dreamlike scene has sex with two of them and then ties them up before castrating them off screen, leaving blood pouring over her own naked body. The following morning Molly learns her visions are far more than fantasy when two dead bodies are uncovered. Her friends are aware that she is deeply troubled and are very protective of her. They can't believe she would do such a thing, but Molly is hopelessly tormented by vivid memories of abuse and molestation at the hands of her sea-going father.
  Amidst the exploitative excess of the grindhouse years came this almost forgotten gem. Shot in 1971, this was a typically low-budget affair which not surprisingly contained some rather dubious acting, but was saved by an intriguing psychological slant to its script and the photography of the aspiring Dean Cundey, who would go on to work with Steven Spielberg. For Matt Cimber, Jane Mansfield's third husband, this was a remarkable change from the exploitative excess with which he had for so long become associated. Robert Thom's script allowed Cimber to pace the development of this disturbed character and then shock his audience with Molly's incestuous past, rather than the bloody display so routinely demanded by the drive-ins and grindhouse cinemas. Her descent into madness would lead to several gory scenes, but the horror in this film concerned Molly, not the men she sliced up in the privacy of her home. Millie Perkins, who assisted with the script, turned in a fine performance as she teetered on the very edge of madness, but this wouldn't save this film when it was handed to the distributors. It took another five years before this feature received a cinematic release and even then it wasn't given an especially long run before disappearing into obscurity. The audience for which it was intended couldn't get to grips with its psychological premise and the lack of sleazy nudity certainly didn't help either, while mainstream cinema was reluctant to handle such a challenging theme. Finally, film historian Walter Olsen and his brother Bill traced the original set of negatives and **The Witch Who Came From the Sea** was granted a deserved reissue, which will afford a new generation of film watchers the chance to savour this hidden treasure.
  Its scenes of extreme sexual violence would lead to worldwide bans and further hinder its already problematic distribution. In 1983, the Director of Public Prosecutions included Cimber's film in its list of seventy-two video releases that had avoided BBFC certification and declared it prosecutable for obscenity. It was banned in August 1984 but was removed from the list in the wake of an unsuccessful prosecution in June 1985. However, it wasn't made available in the UK until June 2006.
  TELEVISION PRESENTER SHELLY Carson (Judy Cler) takes her reluctant boyfriend, sports columnist Jack (Wayne Ratay), along to a magic show staged by Montag the Magnificent (Ray Sager). For his finale, Montag performs his pièce de résistance by sawing a female volunteer in half as she lies helpless in his magic box. The audience gasp in horror, only for the girl to appear completely unharmed to cheers and a hearty round of applause. Days later, when the applause has died, the girl will be found dead, bearing wounds identical to those she would have sustained during the act. The murders continue, with the volunteers' deaths mirroring the endless illusions carried out on stage. In quite graphic scenes a metal spike is hammered into a girl's head, which ruptures her eyeball, swords are eased into their mouths, another is squeezed to death in a press and one poor girl is set ablaze, while another has to endure a drill being driven into her stomach. While the police investigate the crime scenes, they are unable to find any evidence to link the murders to the crafty magician. Shelly asks Montag to consider performing on her show, to which he readily agrees. As her suspicions grow, she prepares to reveal his villainy during his television appearance; only then can the slaughter be brought to an end.
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conversations.value: Provide five more paragraphs.. End with the sentence ' It wasn't until 2005 that the UK got the chance to see these grisly proceedings as Fulci had originally intended.'.
conversations.from: assistant
conversations.value: When the film was submitted to the BBFC prior to its UK release, it had already been edited to safeguard its distribution with an "X" certificate. However, when it was released to video it appeared as the pre-cut cinema release and an uncertified shortened version in October 1982. This would lead to its ban as a video nasty in July 1983 after a successful prosecution in Brighton. It wasn't dropped from the list until July 1985, but then ran into further problems in 1993 following the appalling murder of young Jamie Bulger. It was finally released uncut in 2002.
  IN A SCENE that was added to the original footage, a couple of Coast Guards board a deserted boat which has been borne into New York's Hudson River harbour. As they search through the disarray below decks, the zombie captain of the vessel erupts onto the scene. One of the boarders is savaged to death before the shambling monstrosity is brought down by a gunshot; it then collapses seemingly dead. Soon after in the morgue the creature begins to exhibit the faintest signs of life.
  The boat, up until recently, had been in the possession of a scientist who was reported missing months ago as he was making his way to the Caribbean. His daughter, Anne Bowles (Tisa Farrow), is determined to find out what happened to him along with a journalist, Peter West (Ian McCollough), who desperatly needs a scoop to improve the mood of his demanding editor (Lucio Fulci). When they eventually discover the Island of Matuul, they learn Anne's father had succumbed to a mystifying illness. They become acquainted with Dr David Menard (Richard Johnson) and his scornful wife Paola (Olga Karlatos), who is anxious to depart the secluded island. The zombie attacks that have been reported across the island have left her petrified, but her foolhardy husband is overly eager to undertake research into these macabre occurrences.
  Menard should have been mindful of his shrew of a wife; the zombies soon rise from the earth to initiate their vicious assault. The most memorable attack comes from an aquatic zombie, who seizes a scantily clad female crewmember by the throat, then, its frenzy unabated, rips into a Tiger Shark. Paola meets her end as she is dragged by the hair through a closed door by an unseen zombie. In probably the most shocking scene in this bloodthirsty debacle, she is subjected to an impalement to the eye. The survivors are marooned on the island, their boat damaged by an enraged shark. They soon learn the only way to kill these zombies is to shoot them through the head. Only Peter and Anne are able to make an escape. As they enter New York's Harbour, they listen in horror as a radio broadcast warns of a zombie plague that has gripped the entire city. The finale is widely acknowledged as one of Fulci's finest moments, although, as with the prelude, it was added to the original reels following the success of George Romero's **Dawn of the Dead** (1978). The film now turns full circle, training on the droves of walking dead as they mindlessly trudge across the Brooklyn Bridge heading for Manhattan.
  On its 1979, UK release, **Zombie Flesh Eaters** was issued to cinemas on the condition that two minutes of the original footage was removed. This didn't prevent its remaining gory content from being severely criticized; among the disparagers was the recently elected Conservative government. When it went to video, it became a cult favourite, but disappeared from the video stores when it was branded as a video nasty following the introduction of the 1984 Video Recordings Act. It wasn't until 2005 that the UK got the chance to see these grisly proceedings as Fulci had originally intended.
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conversations.value: Provide the last three paragraphs.
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conversations.value: As ever, the new volume of this long-running and multiple award-winning anthology series also offers a detailed overview of the year in horror, a comprehensive necrology of notable names and a directory of useful contact details for dedicated horror fans and writers.
  Now well into its third decade, The Mammoth Book of Best New Horror remains the world's leading annual anthology dedicated solely to showcasing the best in contemporary horror fiction.
  To celebrate the anthology's twentieth anniversary, the editor has selected from each volume one story that he considers to be the 'best' by some of horror's biggest names, including **Ramsey Campbell, Christopher Fowler, Elizabeth Hand, Joe Hill, Glen Hirshberg, Caitlín R. Kiernan, Terry Lamsley, Tim Lebanon, Brian Lumley, Paul J. Mcauley, Kim Newman, Mark Samuels, Michael Marshall Smith, Lisa Tuttle** , and **Simon Kurt Unsworth**.