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About L. Andrew Cooper
Since he started screenwriting in 2018, L. Andrew Cooper has composed more than 25 scripts, a mix of features and shorts spanning thriller to comedy, drama to horror. Most of them have brought home laurels, many from multiple festivals and competitions. Before the current obsession, Cooper used his English degrees from Harvard (B.A.) and Princeton (Ph.D.) to teach across the U.S., including courses in Film Studies from the introductory through the graduate level. He has published two academic volumes, including one on horror maestro Dario Argento. He has also published two novels, two collections of short stories, a collection of poetry, and several edited volumes--no bestsellers, but respectable work. Living in North Hollywood with his husband James and cat Samara, he spends most of his time tapping at his keyboard, waiting to see what will spin out next.
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Commanding a cult following among horror fans, Italian film director Dario Argento is best known for his work in two closely related genres, the crime thriller and supernatural horror, as well as his influence on modern horror and slasher movies. In his four decades of filmmaking, Argento has displayed a commitment to innovation, from his directorial debut with 1970's suspense thriller The Bird with the Crystal Plumage to 2009's Giallo. His films, like the lurid yellow-covered murder-mystery novels they are inspired by, follow the suspense tradition of hard-boiled American detective fiction while incorporating baroque scenes of violence and excess.
While considerations of Argento's films often describe them as irrational nightmares, L. Andrew Cooper uses controversies and theories about the films' reflections on sadism, gender, sexuality, psychoanalysis, aestheticism, and genre to declare the anti-rational logic of Argento's oeuvre. Approaching the films as rhetorical statements made through extremes of sound and vision, Cooper places Argento in a tradition of aestheticized horror that includes De Sade, De Quincey, Poe, and Hitchcock. Analyzing individual images and sequences as well as larger narrative structures, he reveals how the director's stylistic excesses, often condemned for glorifying misogyny and other forms of violence, offer productive resistance to the cinema's visual, narrative, and political norms.
Only half-convinced, Megan, confined to their New York apartment, begins nine months of hell, and she and Carter enter a spiral that consumes more lives than they could have ever conceived. Ranging from domestic terror to all-out supernatural horror that flecks the American east coast with mangled bodies, Descending Lines takes a gut-wrenching question—how far would you go to save your child?—and turns it into a fast-paced journey to places where even nightmares fear to tread.
Descending Lines: The only way out is down.
Today’s most talented authors build upon the original themes and topics to present new ghastly fiction based on many of the various aspects of the original Frankenstein story. But there was a catch to the assignment – each story could only be four pages long.
Enjoy these tales, which have been distilled down to their very essence for your horrific pleasure.
Brian McCullough comes home from school and discovers that his ten-year-old sister Fran has murdered their parents. Five years later, a journalist, Ronald Glassner, finds Brian living at the same house in the small town of Kenning, Georgia. Planning a book on the McCullough Tragedy, Ronald stumbles into a struggle between Kenning's First Church, run by the mysterious Reverend Michael Cox, and the New Church, run by the rebellious Jeanne Harper. At the same time, Kenning's pets go berserk, and dead bodies, with the eyes and tongues removed from their heads, begin to appear.