Does the world need more than one book on the movies of Mamie Van Doren? Hell, no. But I sure do! With Joseph Fusco’s 2010 book already sitting on my shelf, now there’s Atomic Blonde: The Films of Mamie Van Doren to keep it company. First published in 2008, Barry Lowe’s book now is back in print and available in a more affordable paperback edition from McFarland. Today a prolific author of gay erotica, Lowe spends the first 50-ish pages to deliver a condensed biography of the former Joan Olander, the virginal farm girl who became one of the three iconic sex bombs of the squeaky-clean 1950s and boundary-pushing ’60s, behind Marilyn Monroe and Jayne Mansfield. And the rest of the text? Why, a flick-by-flick examination of her career, of course, with special attention given to her campier efforts — including High School Confidential!, Sex Kittens Go to College, Las Vegas Hillbillys, The Navy vs. the Night Monsters, Voyage to the Planet of the Prehistoric Women — and no punches pulled. Lowe wrote this breezy book with the hopes that readers might see her as skilled beyond testing the thread strength of sweaters, and yet it is populated with photos that play up those God-given talents. In my eyes, that’s not really a complaint. Recommended!

Maybe having been born in 1971 has something to do it, but I think some of the most memorable vampire movies came from that decade. (I mean, seriously, The Vampire Happening? The Vampires Night Orgy? The Dracula Saga? C’mon, folks!) Gary A. Smith agrees; as he writes in the introduction of Vampire Films of the 1970s: Dracula to Blacula and Every Fang Between, “filmmakers everywhere jumped on the bloody bandwagon,” giving us bloodsuckers that also were black, gay, adept at kung fu, peace-preaching and puppies — just not all at once. The fun of this McFarland & Company paperback is in Smith covering their respective flicks not chronologically, but broken up into distinct groups, such as “Carmilla” adaptations, Jean Rollin works, Mexican entries, outright comedies and, yep, “Vampire Porn.” Any book that gives the likes of Al Adamson, Andy Milligan and Jess Franco chapters of their own is one worth sinking your teeth into.

One area of the movies I have yet to take a deep dive into? Ye olde serials. Other than chapters of Bela Lugosi in The Corpse Vanishes doled out across several early episodes of Mystery Science Theater 3000, these superheroic, swashbuckling, space-patroling, spy-smashing tales remain a blind spot in my cinematic education. Because they are extinct, I’m guessing the same may be true for many of you. For a crash course, turn to Geoff Mayer’s Encyclopedia of American Film Serials. Designed by McFarland & Company as an oversized paperback, it seems ready-made for decades of referencing to come. It holds tremendous value in that it’s indexed not only by titles, but actors, directors, writers — heck, even composers! Entries are written with voluminous knowledge, with particular attention paid to concepts and cliffhangers, but the introduction gives a broad, baseline knowledge of the art form, its various studios and its eventual death. The reproductions of poster art are entirely welcome; I just wish they were in color, although the shorts they shilled were not. —Rod Lott

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David Thomson is one of our finest living writers, period. He just so happens to work in the field of film criticism, yet his prose sings as marvelously as any acclaimed work of fiction. Each book he releases is an event for cineastes, including his latest … although it is about the movies’ archenemy. In the Thames & Hudson hardback Television: A Biography — heavy in size, heady in subject — Thomson relates the history of TV in the same manner he did cinema in 2012’s The Big Screen: purely on his terms. That means neither chronologically nor logically by anyone’s standards, yet the book feels that way once the whirlwind tour is done. The man can pivot on a dime, going from Gunsmoke to The Rockford Files to James Garner’s Polaroid ads with Mariette Hartley to Merv Griffin — and somehow, his dot-connecting leaps work. The cover image — the iconic one from 1982’s classic Poltergeist — is as good a joke as any, representing Thomson’s sometimes contentious relationship with the boob tube. And let’s be honest: His is ours.

While not quite a runaway smash, The Legend of Tarzan performed better than expected at last summer’s box office, proving there’s lots of life left in the lord of the apes. For the life already lived, David Lemmo recounts the pulp hero’s first century of existence in Tarzan, Jungle King of Popular Culture. Published by McFarland & Company, the trade paperback has the daunting task of distilling 100-plus years of content into roughly a 200-page narrative, and for the most part, the man succeeds. With Edgar Rice Burroughs writing dozens of novels starring his creation, adapted for dozens more motion pictures, there is little space for Lemmo to dive too deeply into individual works. Plus, the preceding sentence doesn’t take into account Tarzan’s adventures into TV, radio, comics, toys and other merchandising vines, all of which get covered here — just at a monkey’s-eye view. For example, the aforementioned Legend film merits one paragraph, but that’s more than is earned by Hollywood’s heretofore most recent live-action Tarzan film, 1998’s flop Tarzan and the Lost City (a vehicle for a loinclothed Casper Van Dien). Lemmo’s writing leans heavily on names and dates, so passages tend to grow arid. For those seeking a reference work on just the movies, reach for Scott Tracy Griffin’s recent Tarzan on Film; for a broad overview on the character’s wide-ranging market penetration and influence, Lemmo’s book serves as that introduction.

As you may have noticed with his previous book on Jamie Lee Curtis in 2010, when David Grove gets interested in a celebrity as a subject, he goes all in. Now, he’s gone all in on the troubled star of Damnation Alley, White Line Fever and TV’s Airwolf in Jan-Michael Vincent: Edge of Greatness. One of the best things about the BearManor Media release is that it exists at all; although once a matinee idol, Vincent is remembered more today (when he’s remembered at all) for substance abuse struggles and other tabloid fodder. I’ll be the first to admit I thought the actor already had died. Perhaps Grove’s book can help — not to rewrite Vincent’s history or legacy, but just to make certain that someone acknowledged his talent and, furthermore, mourned its loss. If you’re not already a fan, Edge of Greatness won’t change your mind; I suspect it won’t even be read by JM-V virgins. Working without input from or access to his subject, Grove guides us through each step of Vincent’s career at a quick clip, from its sharp ascent to an extended train wreck of a fall. Any fear on your part that Grove will indulge in hagiography is unwarranted, as the rather odd and sobering (pun not intended) final chapter makes clear. —Rod Lott

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Blair Davis’ Movie Comics: Page to Screen/Screen to Page was not quite the book to which I had been looking forward for the better part of 2016. Turns out, that’s a good thing — even a great one.

While the rest of the film world debates the merits of the Marvel Cinematic Universe and DC’s catch-up attempts, Chicago-based cinema professor Davis dives deep into the comic-book (and -strip) movies and TV shows few care to acknowledge, from the Dick Tracy flicks of the 1940s and all those Blondie comedies to the early serial adventures of Superman, Batman, Captain America and pulp-borne heroes of whom you haven’t heard.

The author’s willingness to plumb past the merely obscure is only half the reason to admire this sublime study of four-color culture; the other is discussing the flip side of screen entertainment being adapted for comics, at a time when such a publication often was the only way audiences could re-experience their afternoon matinee. Davis is equally knowledgeable and at home with these chapters as well, so be ready to scour the internet for scans of The Adventures of Alan Ladd! (Okay, okay, so that’s a bad example.)

In addition to being a highly rewarding read, the Rutgers University Press paperback is a thing of utter beauty, with photos, panels and pages reprinted in gorgeous full color. In film studies like this, that royal treatment is not the norm, but it makes perfect sense here. That Davis’ contents deserve it makes it all the more special. —Rod Lott

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