fanboy book shop:
The Strange by Cosmic Debris
Emily, the peculiar soul with long black hair, a wit of fire, and
a posse of slightly sinister black cats. Emily the Strange, her
first book, captures the quintessential Emily, featuring her most
beloved quips and a host of new ones, i.e "Emily doesnt break
rules, she breaks hearts", (or something to that effect). Anarchist,
heroine, survivor, this little girl with a big personality appeals
to the odd child in us all. One of the best parts of this book is
the unique use of ink - figure/ground reversal...implied by the
cover, much of the art is silouhette. Another wonderful feature
is the printing...they really made use of veneer techniques, i.e.
if you look at certain pages at the right angle in the right light,
you can see phantasmagoric typography , "cat eyes", and
other such hidden treasures.
Mexicano : Posters from the Golden Age 1936-1956 by Rogelio Agrasanchez
and Rogelio Agrasbanchez Jr.
Book publishes some of the best books on high low art
and this collection is a must have for film poster fans. The Golden
Age of Mexican film (1936-1956) produced some of the most brilliant
and fascinating films in the Spanish language, with themes and characters
as big and colorful as México itself. his book features over
100 pages of sultry bandidas, gut-busting cómicos, and terrifying
monstruos--they all make appearances in Cine Mexicano. Combining
art deco style with pulp fiction sensationalism, the more than 150
movie posters in Cine Mexicano are culled from the Agrasánchez
Film Archive--the largest print collection of its kind. With a bilingual
introduction that surveys the history of Mexican cinema, Cine Mexicano
is an unforgettable exploration of gorgeous graphic art and exotic
cinema at its finest.
: Celebrating 50 Years of the Greatest Plastic Kits by Arthur Ward
gloriously illustrated, large-format volume celebrates 50 years
of Airfix plastic modeling kits. Hundreds of superb color photos
show all the obscure and highly collectible kits, as well as the
best-sellers, with illustrations of packaging, box art, advertisements
from Airfix magazine, and a mass of period ephemera. The lively
text charts the rise, fall, and rise again of Airfix models. It's
a nostalgic reminder of kits long vanished, but with a happy ending:
Airfix is now re-releasing 40 kits a year, bringing back some models
not seen in two decades. Airfix has all the information important
to collectors, from complete range listings to production dates.
But this book is not just for collectors. Packed with color photos
of every model Airfix ever built, this is for anyone who has ever
stuck their fingers together with model cement or watched as an
Airfix Messerschmitt plummeted to its fiery end from a bedroom window.
Bosch: The Complete Paintings and Drawings by Hieronymus Bosch,
Paul Vandenbroeck, Bernard Vermet, jos Koldeweij
panoramic, otherworldly paintings writhe with legions of strange
creatures doing strange things, dense and troubling scenes that
require the sort of sharp-focus plates and enlargements this scholarly
but crisply written and enlightening monograph, now the Bosch book,
has in abundance. Koldeweij and his coauthors cite all that isn't
known about the enigmatic Bosch, including his birth date, dates
for his paintings, or proof that all works attributed to him are
actually his. Yet they are able to present a vivid depiction of
Bosch's hometown, from which he extracted his name and in which
he was counted among the elite, and clear evidence of his "immense
erudition," the source of his exotic, often diabolical images.
As keen as the book's historical and technical sections are, its
most enthralling passages contain the authors' insights into Bosch's
original and satiric worldview and cosmic iconography. Fascinated
by nature, eroticism, "wickedness and punishment," Bosch,
the first artist in his milieu to address social issues, has profoundly
influenced all who followed.
Greatest of Marlys by Lynda Barry
back! This is a Lynda Barry double-tall: the long-awaited collection
of the best strips from her syndicated comics. Way back in the mid-1980s,
comic illustrator and writer Lynda Barry introduced the character
of Marlys Mullen, her crazy groovy teenage sister Maybonne, her
sensitive and strange little brother Freddie, a mother like no other,
and an array of cousins and friends from the hood. This oversized
book presents the long strange journey through puberty and life
that Marlys and company have experienced. Marlyss universe and galaxy
are funny, rude, disturbing, tearful . . . in short, very, very
fanboy toy store:
by Corgi Classics Ltd
Relive the history of flight with this silver 1:144 scale model
of the Avro Lancastrian, which was first delivered to British South
American Airways in 1946. After being sold to Flight Refuelling,
Ltd., the aircraft flew 226 sorties during the 11-month Berlin Airlift
of 1948 to 1949. The Berlin Airlift, code-named Operation Vittles
by the U.S. Air Force and Operation Plainfare by the Royal Air Force,
was the Allies' postwar mission to supply food and fuel to Berlin
after Soviet forces blockaded railway, roadway, and waterway supply
routes to the German city. The mission was successful, leading the
Russians to lift the blockade in '49. This 6-inch-long die-cast
replica, with a wingspan of 8 inches, will probably appeal most
to adult collectors. Instructions and parts are included to display
the model either on its undercarriage or on a display stand (with
its undercarriage either extended or retracted).
fanboy DVD store:
Strangelove or: How I Learned to Stop Worrying and Love the
Bomb (Special Edition) (1964)
Arguably the greatest black comedy ever made, Stanley Kubrick's
cold war classic is the ultimate satire of the nuclear age.
Dr. Strangelove is a perfect spoof of political and military
insanity, beginning when General Jack D. Ripper (Sterling
Hayden), a maniacal warrior obsessed with "the purity
of precious bodily fluids," mounts his singular campaign
against Communism by ordering a squadron of B-52 bombers to
attack the Soviet Union.
Soviets counter the threat with a so-called "Doomsday
Device," and the world hangs in the balance while the
U.S. president (Peter Sellers) engages in hilarious hot-line
negotiations with his Soviet counterpart. Sellers also plays
a British military attaché and the mad bomb-maker Dr.
Strangelove; George C. Scott is outrageously frantic as General
Buck Turgidson, whose presidential advice consists mainly
of panic and statistics about "acceptable losses."
With dialogue ("You can't fight here! This is the war
room!") and images (Slim Pickens's character riding the
bomb to oblivion) that have become a part of our cultural
vocabulary, Kubrick's film regularly appears on critics' lists
of the all-time best.
Related Fanboy Trivia:
Kubrick intended the film to end with a custard pie fight
between the Russians and the Americans in the War Room (which
is why we see a big table of food there). The footage was
shot, but he decided not to use it because he considered it
too farcical to fit in with the satirical nature of the rest
of the film.
Strangelove apparently suffers from "alien hand syndrome,"
an actual affliction that can be caused by a stroke or other
brain injury causing damage to the nerve fibers that connect
the two brain hemispheres (the corpus callosum). Neurologists
discovered that loss of connection between the hemispheres
allows them to function independently, including independent
motor control of each side of the body and even independent
personalities that are often in conflict.
When Strangelove is talking about the doomsday device,
Turgidson says, "Strangelove. What is that, German?"
The reply he receives is "He changed his name; it was
originally Merkwurdigliebe" -- which in German means
Barbarella is the infamous 1968 camp classic from Roger Vadim
that made Jane Fonda the most fantasized-about woman in the
world for a while (I think she was replaced by Raquel Welch,
but do not quote me on that one). Of course a decade later
Fonda would be attacking her ex-husband for his sexual exploitation
of women, but it was certainly pretty much impossible to ever
take "Barbarella" seriously.
on the European comic strip which emphasized the sex at least
as much as the science fiction, this film was originally rated
X and then censored to get a more commercially viable rating.
I think the main problem with this film is that the title
sequence, with Fonda doing a weightless strip tease while
floating in some sort of giant test tube (?) promises so much
more than the film actually delivers. Ultimately, what we
have here is pretentious soft porn, and, even with Fonda in
her "queen of the galaxy" outfit or cuddling with
the blind angel in the loincloth (John Philip Law), it is
unrelentingly, um, uninspiring soft porn. Fonda plays it straight,
which is why "Barbarella" is much more enjoyable
as a camp classic. Otherwise the visually stylish but emotionally
devoid sequences are just going to depress you big time. Too
bad that flock of killer hummingbirds could not inspire the
eight screenwriters to come up with half that many good ideas
for this film.
fanboy soundtrack shop:
The magical triad behind Rushmore's spunky, starry-eyed soundtrack--music
supervisor Randall Poster, composer Mark Mothersbaugh, and
director Wes Anderson--leaps forward a decade from that beloved
soundtrack's '60s gems, in the process adopting a more pensive
feel for The Royal Tenenbaums' musical backdrop. It may lack
the euphoric sing-along feel of, say, Creation's "Makin'
Time," but the rock and folk tracks here perfectly match
the film's crumbling characters and their dilapidated relationships.
The Ramones' "Judy Is a Punk" is a burst of nostalgic
rebellion but surely causes a sad twinge in light of Joey
Ramone's untimely death in 2001; gloom-folker Nick Drake's
"Fly" and Elliott Smith's excellently depressing
"Needle in the Hay"--which is used to chilling effect
during a wrist-slashing scene--further deepen the dark thread
running through Tenenbaums. But those who prefer the sunny
disposition of Rushmore will be thrilled by the calming concoctions
of Mothersbaugh, who heralds the coming of a new scene with
graceful woodwind/string parts ("Scrapping and Yelling")
and playful sitar pieces ("Pagoda's Theme"). Throw
in the Clash's squalling "Police & Thieves"
and the Velvet Underground's petal-soft "Stephanie Says"
and you've got another winning soundtrack from the film biz's
most in-tune music lovers. And of course Christmas Time Is
Here by the Vince Guaraldi Trio will bring back the Peanuts
fan in you. Tenenbaum or not, you can go home again.