Xerox Ferox: The Wild World of the Horror Film Fanzine
Format: PDF / Kindle (mobi) / ePub
From Famous Monsters of Filmland to Fangoria… and everything in between, Xerox Ferox is much more than a book about monster magazines. It is the first book of its kind to examine the home-grown DIY fanzines that dared to dig deeper than the slick and shiny newsstand mags ever would... or indeed even could.
The titles were as lurid as the films that they covered. Gore Gazette. Deep Red. Sleazoid Express. Before message boards, before blogs, before the Internet itself, the fanzine reigned as the chief source of news and information for horror fans worldwide. Often printed on the cheap and sold for the price of postage, madcap mags like Slimetime, The Splatter Times, and Subhuman traveled the globe, creating a thriving network of fans and professionals alike.
Xerox Ferox traces the rise of the horror film fanzine, from the Famous Monster-starved kids of the 1960s to the splatter-crazed gorehounds of the Fangoria generation. Featuring in-depth interviews with over fifty writers, editors, and industry pros, Xerox Ferox is the final word on an era that changed the world of fandom forever…
Xerox Ferox is the first title to cover the horror film fanzine phenomenon and culture in encyclopedic depth. The book also contains lengthy chapters that deal with the New York zine scene and the hub of its grindhouse activity, Times Square. In many ways, the book works as time capsule of that era-writers and filmmakers including Jimmy McDonough, Bill Landis, Mike McPadden, Steve Puchalski, Roy Frumkes, and Buddy Giovinazzo share their memories of the movie houses of Forty Second Street-and the dangers that were encountered while visiting them. Not limited to New York City, Xerox Ferox also concentrates on the drive-in theaters of the south. Other topics discussed include commercial Super-8 horror films of the 1960s and 1970s, the home video revolution of the 1980s, regional exploitation films, low budget filmmaking, and of course, self publishing, networking, and distribution.
an axe to grind with the man. And then, I discovered Famous Monsters of Filmland. I had seen ads for the magazine in the back pages of Creepy and Eerie and I really wanted to read it. I finally found a few tattered copies at a flea market and I took them home. As a child of the eighties, I wasn’t really impressed by the content. Famous Monsters was talking about “old” movies, and by this time, I was hip to the splatter craze that was just beginning to blossom. What did make an impression was the
journalism or anything else, or did you just learn as you went along? BL: I had been writing critiques of movies since age ten or so, with the encouragement of some neighbourhood girls. We’d trade tips on movies after seeing them on creature features—late-night TV, where the censorship was low. “That was Jane Fonda’s tit just now in Circle of Love!” they’d shout. And that movie was playing theatrically with Murmur of the Heart. Some movies had simultaneous theatrical and edited TV runs, like
entertaining than the actual experience of watching the movies they wrote about. A one-paragraph, matter-of-fact summary by Michael Weldon saved you ninety minutes of living death by boredom. And a zine like Craig Ledbetter’s European Trash Cinema was vital for us in the States where the movies he wrote about were completely unavailable. There was a mystique, a kind of intrigue surrounding these bizarre, low-down, dirty and overlooked movies at a time when there was no instant access to
SZPUNAR:What kind of films did you watch as a child? JIM MORTON: Anything and everything. My mom worked at the train station in Tucson and she used the downtown movie theaters to babysit me. It was cheaper to just give me a quarter, or later, fifty cents, and have me sit and watch the same movie for a few times before she came back when she got off work. JS: And what kind of movies made an impact on you back then? JM: Well, I was always a big fan of horror movies, from a really early age. The
into was that we started ordering the fanzines that we read about in Castle of Frankenstein. I saw a cover of somebody’s fanzine reproduced in “The Graveyard Examiner” section of Famous Monsters. I saw a cover for Gore Creatures in another magazine. That was the first fanzine that I ever ordered, Gary Svehla’s Gore Creatures. I also remember seeing the cover of another magazine in Monster Mania. JS: What was Monster Mania? SB: It was a short-lived magazine that Russ Jones edited. It was dedicated