The General Editor wishes to thank launch issue Editors Mikita Brottman and John Mercer for all their work on the first issue of the Cine-Excess journal, as well offering thanks to all of the writers who contributed so much hard work to this issue. I also offer sincere thanks to Franco Nero, Marc Sheffler, Ruggero Deodato, Giovanni Lombardo Radice, John A. Schwartz, David De Falco, Rodleen Getsic, Giovanni Memola, Paul Smith and Adrian Smith for all their support and assistance with compiling the interview materials contained within the issue.
Additionally, I would like to thank Paul Johnson for all of his hard work in designing this edition of the journal. Further thanks go to Professor Gillian Youngs (University of Brighton), Catherine Anderson (BBFC), Craig Lapper (BBFC) and Filippo del Lucchese (Brunel University) for all their advice on the completion of the issue. I also offer thanks to the Advisory Panel members who provided assistance with peer-reviewing the academic submissions contained herein. Additionally, I would like to thank the following PR, exhibition and distribution companies who assisted with securing promotional materials for inclusion in the launch issue of the journal: Garwin Spencer-Davison (Shameless Screen Entertainment), Harvey Fenton (Fab Press), David Gregory (Blue Underground Inc.), Almar Haflidason (Fetch FM), Steve Hills (Eureka Entertainment Ltd), Paul Smith (Paul Smith PR), Valentina Sutto (Shameless Screen Entertainment), Woody Southcott (Metrodome Group plc) Sarah Wharton (Fetch FM).
The images used in the article ‘A Cult Called Django: On the Controversial Tail of a Transnational Bandito’ are courtesy of Blue Underground Inc. from the US release of Django. The UK release version of the title is also available through Argent Films. The image of Franco Nero used in the article ‘From Controversy to Cult: Franco Nero on Why Django Never Dies’ is courtesy of the actor himself, and I would like to thank Mr Nero for providing us with permission use this still. The images used in the article ‘The Last House on the Left: The Redemption of the Remake’ are courtesy of the David A. Szulkin collection, and I would like to thank Mr Szulkin for allowing us to reproduce them here. I would further like to thank Mr Szulkin for the images from The Last House on the Left that also appear in the article ‘The Last House(s) on the Left: A Response To Claire Henry’s Article’, while further thanks also go to David De Falco for kindly providing the stills from his film Chaos, which also appear in this submission. The publicity picture of Marc Sheffler (and other cast members from the film) was provided by the actor, and I would like to offer my sincere thanks to Mr Sheffler for all his assistance in sourcing images to accompany this submission. The images used in the article ‘Til (Faces of) Death Do Us Part’ are courtesy of David Kerekes and Headpress Books, whose current releases www.headpress.com. I would also like to thank Mr Kerekes for providing additional images from Faces of Death for the chapter ‘The Face of Death: A Response by Director John A. Schwartz’, while the image of the director used in the article was provided courtesy of Mr Schwartz himself. The film stills used in the article ‘House Cleaning: Or what its Audience can tell us about Ruggero Deodato’s Film’ are courtesy of Shameless Screen Entertainment, and I wish to thank both Garwin Spencer-Davison and Valentina Sutto for allowing us to use them here. I would further like to thank Garwin Spencer-Davison and Valentina Sutto for the additional stills from House on the Edge of the Park (AKA The House on the Edge of the Park) which appear in the article ‘Debates on the Edge of the Park: Ruggero Deodato and Giovanni Lombardo Radice Respond.’ The still of the director and lead actor that appear in this article is courtesy of Giovanni Lombardo Radice, and I would like to thank him for allowing us to reproduce it here. The images used in the article ‘No Pain, No Gain: Strategic Repulsion and The Human Centipede’ are courtesy of Monster Pictures UK, and I would like to thank Steve Hills and Staff at Eureka Entertainment Ltd for securing their use. The images used in the article ‘More Than Just a Game: Breaking the Rules in The Bunny Game’ are courtesy of Adam Rehmeier, and I offer my sincere thanks to him for allowing us to reproduce both these stills and the original artwork from The Bunny Game in the launch issue of the Cine-Excess journal. I would further like to thank Mr Rehmeier for the use of the images from The Bunny Game that appear in the article ‘My Monsterpiece: A Response To Jenny Barrett’s Article’, while the still of Rodleen Getsic is courtesy of the actress herself, and I offer my thanks for her permission to use it here.
In the conference/festivals section of the journal, the still used in the review of ‘The Cultural Mythology of the Snuff Movie Conference Report’ is courtesy of the event organisers. The still used in the review ‘Hammer Has Risen from the Grave A.D. 2012 Conference Report’ is courtesy of the event organisers. The first still contained within the review of ‘Sitges International Fantastic Film Festival of Catalonia Festival Report’ is courtesy of the event organisors. The still from The Lords of Salem used in this review is courtesy of Momentum Pictures and I would like to thank them for allowing us to use it here. The still from Lovely Molly also used in the ‘Sitges International Fantastic Film Festival of Catalonia Festival Report’ is courtesy of Metrodome Group and is used with permission, while the still from No One Lives is courtesy of Anchor Bay, and I would like to thank them for allowing us to reproduce it here.
The remainder of the images contained within the journal are the property of the production and distribution companies concerned. They are reproduced here in the spirit of publicity and the promotion of the films in question.
Additionally, I would like to thank Paul Johnson for all of his hard work in designing this edition of the journal. Further thanks go to Professor Gillian Youngs (University of Brighton), Catherine Anderson (BBFC), Craig Lapper (BBFC) and Filippo del Lucchese (Brunel University) for all their advice on the completion of the issue. I also offer thanks to the Advisory Panel members who provided assistance with peer-reviewing the academic submissions contained herein. Additionally, I would like to thank the following PR, exhibition and distribution companies who assisted with securing promotional materials for inclusion in the launch issue of the journal: Garwin Spencer-Davison (Shameless Screen Entertainment), Harvey Fenton (Fab Press), David Gregory (Blue Underground Inc.), Almar Haflidason (Fetch FM), Steve Hills (Eureka Entertainment Ltd), Paul Smith (Paul Smith PR), Valentina Sutto (Shameless Screen Entertainment), Woody Southcott (Metrodome Group plc) Sarah Wharton (Fetch FM).
The images used in the article ‘A Cult Called Django: On the Controversial Tail of a Transnational Bandito’ are courtesy of Blue Underground Inc. from the US release of Django. The UK release version of the title is also available through Argent Films. The image of Franco Nero used in the article ‘From Controversy to Cult: Franco Nero on Why Django Never Dies’ is courtesy of the actor himself, and I would like to thank Mr Nero for providing us with permission use this still. The images used in the article ‘The Last House on the Left: The Redemption of the Remake’ are courtesy of the David A. Szulkin collection, and I would like to thank Mr Szulkin for allowing us to reproduce them here. I would further like to thank Mr Szulkin for the images from The Last House on the Left that also appear in the article ‘The Last House(s) on the Left: A Response To Claire Henry’s Article’, while further thanks also go to David De Falco for kindly providing the stills from his film Chaos, which also appear in this submission. The publicity picture of Marc Sheffler (and other cast members from the film) was provided by the actor, and I would like to offer my sincere thanks to Mr Sheffler for all his assistance in sourcing images to accompany this submission. The images used in the article ‘Til (Faces of) Death Do Us Part’ are courtesy of David Kerekes and Headpress Books, whose current releases www.headpress.com. I would also like to thank Mr Kerekes for providing additional images from Faces of Death for the chapter ‘The Face of Death: A Response by Director John A. Schwartz’, while the image of the director used in the article was provided courtesy of Mr Schwartz himself. The film stills used in the article ‘House Cleaning: Or what its Audience can tell us about Ruggero Deodato’s Film’ are courtesy of Shameless Screen Entertainment, and I wish to thank both Garwin Spencer-Davison and Valentina Sutto for allowing us to use them here. I would further like to thank Garwin Spencer-Davison and Valentina Sutto for the additional stills from House on the Edge of the Park (AKA The House on the Edge of the Park) which appear in the article ‘Debates on the Edge of the Park: Ruggero Deodato and Giovanni Lombardo Radice Respond.’ The still of the director and lead actor that appear in this article is courtesy of Giovanni Lombardo Radice, and I would like to thank him for allowing us to reproduce it here. The images used in the article ‘No Pain, No Gain: Strategic Repulsion and The Human Centipede’ are courtesy of Monster Pictures UK, and I would like to thank Steve Hills and Staff at Eureka Entertainment Ltd for securing their use. The images used in the article ‘More Than Just a Game: Breaking the Rules in The Bunny Game’ are courtesy of Adam Rehmeier, and I offer my sincere thanks to him for allowing us to reproduce both these stills and the original artwork from The Bunny Game in the launch issue of the Cine-Excess journal. I would further like to thank Mr Rehmeier for the use of the images from The Bunny Game that appear in the article ‘My Monsterpiece: A Response To Jenny Barrett’s Article’, while the still of Rodleen Getsic is courtesy of the actress herself, and I offer my thanks for her permission to use it here.
In the conference/festivals section of the journal, the still used in the review of ‘The Cultural Mythology of the Snuff Movie Conference Report’ is courtesy of the event organisers. The still used in the review ‘Hammer Has Risen from the Grave A.D. 2012 Conference Report’ is courtesy of the event organisers. The first still contained within the review of ‘Sitges International Fantastic Film Festival of Catalonia Festival Report’ is courtesy of the event organisors. The still from The Lords of Salem used in this review is courtesy of Momentum Pictures and I would like to thank them for allowing us to use it here. The still from Lovely Molly also used in the ‘Sitges International Fantastic Film Festival of Catalonia Festival Report’ is courtesy of Metrodome Group and is used with permission, while the still from No One Lives is courtesy of Anchor Bay, and I would like to thank them for allowing us to reproduce it here.
The remainder of the images contained within the journal are the property of the production and distribution companies concerned. They are reproduced here in the spirit of publicity and the promotion of the films in question.