The General Editor wishes to thank Joan Hawkins, Janet Staiger and Glenn Ward for all of their work in completing this edition of the Cine-Excess journal. I also extend my sincere thanks to all of the writers who contributed so much hard work to the production of this issue. I offer further thanks to Jeff Lieberman, Jamie Bernadette and Maria Olsen for all their support and assistance in compiling film resources and the interview materials contained within this issue.
Additionally, I would like to thank Paul Johnson for his work on compiling the web platform edition of the journal and also Robert Sharl and Phil Vernon for designing the e-book version of this issue. I would also like to thank Ash Loydon for the original artwork used to promote the web based version of this journal issue. Further thanks go to the peer-reviewers whose advice further assisted with the completion of this journal issue.
The film images reproduced from Long Weekend that feature in the article ‘Down Under Rises Up: Nature’s Revenge in Ozploitation Cinema’ are courtesy of Umbrella Entertainment, and we offer thanks to the company for allowing us to use them here. The images from The German Chain Saw Massacre that appear in the article ‘Germany is not Texas. Finding Reunified Germany in the Rural: Christoph Schlingensief’s The German Chain Saw Massacre’ are courtesy of Filmgalerie 451. Further, the stills from Egomania. Island without Hope are from the same organisation, and we offer thanks for allowing us to reproduce them here. The images of Eden Lake used in the article “We are Never Going in the Woods Again”: The Horror of the Underclass White Monster in American and British Horror’ are courtesy of Courtesy of Rollercoaster Films/STUDIOCANAL, and we wish to offer thanks to Massimo Moretti for allowing us to reproduce them here. The images from Squirm, Blue Sunshine and Just Before Dawn used in the article ‘Bad S**T, Killer Worms and Deadly Dawns: The Cult Cinema and Rural Excess of Jeff Lieberman’ are courtesy of Jeff Lierberman, who also provided the onset images reproduced here. We wish to thank Mr Lieberman for providing materials and supporting their use in the Cine-Excess journal. We further thank Jeff Lieberman for providing additional images to accompany the article ‘Out of the Blue (Sunshine): An Interview with Director Jeff Lieberman’. The two images reproduced in the article ‘Entertaining the Villagers: Rural Audiences, Travelling Cinema and Exploitation Movies in Indonesia’ were taken during the annual Purbalingga Film Festival organised by CLC Purbalingga, and are reproduced here courtesy of the event organiser.
In the conference/festivals section of the journal, the still of the Cultographies volume on I Spit on Your Grave is courtesy of Columbia University Press and is provided here to promote the launch of the volume. The publicity and onset images of Jamie Bernadette and Maria Olsen were provided by the performers in support of promoting Meir Zarchi’s film I Spit on Your Grave: Déjà Vu.
The remainder of the images contained within this edition of 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 his work on compiling the web platform edition of the journal and also Robert Sharl and Phil Vernon for designing the e-book version of this issue. I would also like to thank Ash Loydon for the original artwork used to promote the web based version of this journal issue. Further thanks go to the peer-reviewers whose advice further assisted with the completion of this journal issue.
The film images reproduced from Long Weekend that feature in the article ‘Down Under Rises Up: Nature’s Revenge in Ozploitation Cinema’ are courtesy of Umbrella Entertainment, and we offer thanks to the company for allowing us to use them here. The images from The German Chain Saw Massacre that appear in the article ‘Germany is not Texas. Finding Reunified Germany in the Rural: Christoph Schlingensief’s The German Chain Saw Massacre’ are courtesy of Filmgalerie 451. Further, the stills from Egomania. Island without Hope are from the same organisation, and we offer thanks for allowing us to reproduce them here. The images of Eden Lake used in the article “We are Never Going in the Woods Again”: The Horror of the Underclass White Monster in American and British Horror’ are courtesy of Courtesy of Rollercoaster Films/STUDIOCANAL, and we wish to offer thanks to Massimo Moretti for allowing us to reproduce them here. The images from Squirm, Blue Sunshine and Just Before Dawn used in the article ‘Bad S**T, Killer Worms and Deadly Dawns: The Cult Cinema and Rural Excess of Jeff Lieberman’ are courtesy of Jeff Lierberman, who also provided the onset images reproduced here. We wish to thank Mr Lieberman for providing materials and supporting their use in the Cine-Excess journal. We further thank Jeff Lieberman for providing additional images to accompany the article ‘Out of the Blue (Sunshine): An Interview with Director Jeff Lieberman’. The two images reproduced in the article ‘Entertaining the Villagers: Rural Audiences, Travelling Cinema and Exploitation Movies in Indonesia’ were taken during the annual Purbalingga Film Festival organised by CLC Purbalingga, and are reproduced here courtesy of the event organiser.
In the conference/festivals section of the journal, the still of the Cultographies volume on I Spit on Your Grave is courtesy of Columbia University Press and is provided here to promote the launch of the volume. The publicity and onset images of Jamie Bernadette and Maria Olsen were provided by the performers in support of promoting Meir Zarchi’s film I Spit on Your Grave: Déjà Vu.
The remainder of the images contained within this edition of 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.