Alex Cox – författare

The enormously puzzling TV series The Prisoner has developed a rapt cult following, and has often been described as 'surreal' or 'Kafkaesque.' Alex Cox watched all the episodes of The Prisoner on their first broadcast, at the ripe old age of thirteen. In I Am (Not) a Number, Cox believes he provides the answers to all the questions which have engrossed and confounded viewers including: Who is Number 6? Who runs The Village? Who - or what - is Number 1?According to Cox, the key to understanding The Prisoner is to view the series in the order in which the episodes were made - and not in the re-arranged order of the UK or US television screenings. In this book he provides an innovative and controversial 'explanation' for what is perhaps the best, the most original, and certainly the most perplexing, TV series of all time.

Forty years ago as a graduate student I wrote a book about Spaghetti Westerns, called 10,000 Ways to Die. It's an embarrassing tome: full of half-assed semiotics and other attenuated academic nonsense.Thirty years later I wrote an entirely new book with the same title, about the same subject, from a different perspective - that of a working film director. What interested me was what the filmmakers intended, how they did that shot, how the director felt when his film was recut by the distributor, and he was creatively and financially screwed.Now I have prepared a new edition of 10,000 Ways to Die. It reflects my changing thoughts about the Italian Western, which I still greatly admire. It includes corrections, additions, and new sections on films I changed my mind about, or hadn't seen - including Lina Wertmuller's BELLE STAR - the only Italian Western directed by a woman.

Centuries have passed and time has taken its toll on Mars. Conflict burns across the landscape. A war of supremacy and genocide at the hands of a brutal despot has brought the planet to the edge of collapse. A search party has finally located an aged John Carter and Dejah Thoris, living in quiet seclusion on a desert moon, in perpetual mourning for their lost son. How could they be Mars' last hope? Introducing a John Carter story like you've never seen before, from co-writers Brian Wood (Star Wars, DMZ, Northlanders) and Alex Cox (Adventure Time), joined by artist Hayden Sherman (Civil War II: Kingpin). Reviews: “Hayden Sherman does a great job... It is primitive and powerful. Each panel looks dangerous, like you could be sliced to ribbons by the cliff faces.” – Comic Crusaders “It never occurred to me that John Carter and Batman would have much in common, but I hadn’t read John Carter: The End yet.” - Slack Jaw Punks “A perfect continuation for the stories of Edgar Rice Burroughs and the characters of Barsoom. This should please, delight and thrill old and new fans alike.” – Outright Geekery

The World at War! While men of all nations fight on foreign shores, an Imperial German U-Boat is lost at sea! The crew now faces terror beyond imagination! Monsters from creation’s dawn! Gruesome, blood-stained death from above and below! Impossible beasts, reigning by fear and violence in the South Pacific! And looming over all, the gargantuan ape-god that knows no master! These brave men have faced death before, but now they must contend with...Kong! Casualties will mount.

The President and the Provocateur explores the parallel lives of John F. Kennedy, born into wealth and celebrity, destined for glory and a violent death, and of Lee Harvey Oswald, born into poverty and obscurity, murdered in police custody and convicted - without a lawyer or a trial - of the killing of JFK.50 years after both men were murdered, Alex Cox provides a chronological account of their lives' strange intersections, their shared interests, and the increasing body of evidence which suggests that Lee Harvey Oswald was working for some branch of the government - most likely the FBI or IRS - as an infiltrator of subversive groups, and agent provocateur.The President and the Provocateur draws on five decades of accumulated evidence that Oswald was an intelligence agent and agent provocateur. Far from being an active Communist, Oswald was mainly interested in infiltrating right-wing groups (including the White Russian community of Fort Worth, the National States Rights Party, the Minutemen, and the Cuban Alpha 66 terrorist organization in Dallas and New Orleans). From this perspective his alleged purchasing of guns by mail may be the actions of someone attempting to build a case against right-wing gun-runners and their suppliers - something the IRS and Senator Christopher Dodd's Subcommittee were also doing, at exactly the same time.The possibility that Oswald was sent as a spy to Russia has been raised before, but this is the first book to detail Oswald's continued pattern of intelligence-gathering and infiltration of political groups on his return to the USA.

Picasso apparently said, "when critics get together, they talk about theory. When painters get together, they talk about turpentine.' That has been my experience, as far as film and film studies are concerned. Critics, academics, and theoreticians talk theory. That is what they know. Artists talk about their processes in making art. This is my attempt to apply what I know to a beginning study of film.Emerging filmmakers need to know the basics of their art form: the language of the camera, and lenses, the different crew roles, the formats, the aspect ratios. They also need to know some bare-bones theory: what an auteur is, what montage is, what genres are. Words like these are our currency: they must be known. But, even more urgently, young filmmakers need answers to their questions -- what lens was used? how did they do that effect? who paid for that picture? how did they get it past the censor?Most important, all filmmakers require serious grounding in film. You cannot be a great artist if you aren't versed in great art. And this doesn't just apply to the cinema.I believe 100% that a reasonably educated and intelligent person in any country of the world should be able to have a conversation about Luis Buñuel, about Akira Kurosawa, about Stanley Kubrick, about Fellini or Bergman, and talk knowledgeably about at least one of their films. Read this book, watch the films, and you can!

Philip French has called Alex Cox, 'British Cinema's oldest enfant terrible'; it's a description that its recipient fully approves of. He is the genuine article, a radical, international, independent filmmaker, who is also a good writer, insightful commentator on cinema now, and expert critic of the power of Hollywood. He grew up with a passion for the pictures, and this book has as its centre the filmmaking autobiography of a fine director, the journey through all the major films he has made and how he has made them, including his new film, now in production. He takes us to varied locations, including the US, Mexico, and Nicaragua, where he made "Walker" with the cooperation of the Sandinista government. His book is full of fresh ideas, rare insights into many films of all kinds and into the people he's worked with including greats like Dennis Potter and Harry Dean Stanton. As well as being the confessions of a radical filmmaker, "X Films" is also the most readable working manual yet for the independent filmmaker.Enfant terrible he may be, but Alex Cox is also ahead of the game and is a pioneer and promoter of new forms of filmmaking for the cultural revolutionaries of the 21st century - visual, visceral but interactive, with multiple narrative possibilities.