DOCSLIB.ORG

The Conjuring the Devil Made Me Do It 5

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

FRIDAY 25 JUNE 2021 Proof Elon Musk Must Be Stopped! SEE ON PAGE 3 Director of the Week Robert Altman SEE ON PAGE 4-5 Fascinating Heavy on Story, Horror Movies Facts 1. Count Orlock only blinks once in Nosferatu. 2. The Exorcist was the first horror film to be nominated for a best picture Oscar. Light on Horror 3. Robert Englund was not the first choice to play Freddy Krueger. 4. Psycho is the first American film to feature a toilet. Review: The Conjuring The Devil Made Me Do It 5. Stephen King wasn’t a fan of The Shining. 6. Jaws doesn’t fully appear in a shot until one hour and 21 BY SANUJ minutes into the movie. HATHURUSINGHE 7. Fay Wray though she’d be CEYLON TODAY FEATURES starring opposite Cary Grant in King Kong. Following the widely- 8. It took seven years to get successful The Conjuring and Aliens made. its equally brilliant sequel, 9. Brian de Palma didn’t see the third movie of The Sissy Spacek as Carrie. Conjuring franchise, The 10. Roman Polanski and John Conjuring: The Devil Made Me Cassavetes had different Do It was released this year, ideas for Rosemary’s Baby. much to the delight of the 11. In 2015, George Romero horror lovers. In a time when found nine minutes of lost horror as a genre was lacking footage from Night of the originality and leaning more Living Dead. towards being bloody 12. Serial killer Ed Gein inspired thrillers filled with irritatingly three major horror movies. loud jump scares, The 13. The Halloween script didn’t Conjuring movies took call for a specific kind of viewers by surprise with its mask. ingenuity combined with 14. The Babadook scared the hell good acting; something out of William Friedkin. horror movies in general 15. A double amputee was used lacked. Movies based on real to create The Thing’s life events adds to the quintessential special effect. spookiness of a horror movie 16. The original ending of Fright but it severely limits the Night was much different. director's and the writer's 17. The stars of The Blair Witch freedom to run their Project used GPS trackers to imagination wild to dial up To his credit, Chaves who find their instructions for the the scary-metre but this directed The Curse of la day. wasn't the case with The Llorona is not a bad director, 18. Paranormal Activity is one of Conjuring movies, well, at just that his creativity was the most profitable films of all least the first two movies. The limited having to follow the time. The latest movie of the real-life case. Moreover, 19. The Blob is based on a franchise, though had much real-life there's only so much you can (supposedly) true story. hype created around it, make a human villain look 20. Joel Coen got his first break unfortunately didn't live up story which scary as opposed to a demon as an assistant editor on the to the expectations and high marked the or an evil spirit. The scariest Evil Dead. standards set by the previous part of the movie to me was 21. Tim Burton was in two movies. Some attribute first time in the exorcism of the little boy contention to direct Gremlins. this to the change of the at the beginning of the 22. Bob Clark’s idea for a Black director which to a certain U.S. history movie. Interestingly, the odd Christmas sequel sounds extent is true but personally, angles the body of the boy awfully familiar. I think it is because the a murder bends, the twists, and knots 23. Gene Hackman was slated to villain in the latest movie is a are filmed with no CGI but star in—and direct—The human, unlike in the suspect with the help of a 12-year-old Silence of the Lambs. previous two movies where it contortionist named Emerald 24. Child’s play was inspired by a was a supernatural entity. claimed Wulf. The only CGI involved real event. (Yes, child’s play.) The movie starts with the in the scene was to replace 25. The Conjuring’s Ed and two main characters of the demonic the face of the actor. Lorraine Warren were real-life franchise – paranormal Wilson and Farmiga deliver paranormal investigators. investigators Ed and Lorraine possession their usual brilliant acting 26. Damien originally had a Warren (played by Patrick performances which is the different name in The Omen. Wilson and Vera Farmiga) – as a defence strongest suit of the movie. 27. The creature from the Black performing and exorcism on The scares of the movie were Lagoon was modelled after the a young boy. Not so long into promising in the beginning Oscar statuette. the exorcism a Father visits but kind of died down 28. Bruce Campbell made the house and his entrance exciting and will keep you on towards the end of the movie US$93,000 for Army of scene was strikingly similar person while being under the to work and come face-to- the edge of your seat as it is but not the performances by Darkness. to the opening scene of the influence of 'the devil'. face with an evil like they hard to guess what exactly the actors. Wilson and 29. An actual witch was hired to 1973 cult classic The Puzzled by how a possession have never dealt with before will happen. Apart from the Farmiga are good friends in help make The Craft more Exorcist. Later I got to know can move bodies like that the – a human villain. Warrens, this movie has no real live and this off-camera authentic. that this was deliberately Warrens probe deep into the The real-life story which real connection to the chemistry they have has 30. The name of the demon in done in an attempt to pay matter and realise it is marked the first time in U.S. previous two and you don't worked well in the movie’s The Exorcist is Pazuzu. homage to the horror classic. actually not a demonic history a murder suspect have to watch the first two favour, making the Warrens 31. Wes Craven regretted teasing The exorcism was semi- possession of an evil spirit claimed demonic possession before getting into this. In loveable. Although his a sequel in a Nightmare on successful in a manner that but rather a curse placed by as a defence, the story is an fact, if you are new to the character lacked screen time Elm Street. although the boy was 'cured' a satanic worshiper. intriguing one. If the actual franchise I suggest you get John Noble makes most of 32. Stanley Kubrick allegedly the curse swapped bodies Determined to help out the case and how it was closed is started with this because as his appearance in the movie typed all of those “all work” and entered another youth boy who now is facing the not known to you (like it was a stand-alone movie this is a and delivers his usual stellar pages in The Shining. who then goes on to kill a electric chair, the couple gets to me) the movie is pretty pretty decent horror flick. acting performance. 33. The ending of Psycho was Just that the immense Fans don't normally expect spoiled months before the success the previous two a strong plot and a believable film’s release. movies had raised the bar story from a horror movie. 34. Steven Spielberg thought his pretty high for this one and However, it works rather well DVD copy of paranormal the limitations of the plot if a director can combine a activity was haunted. combined with the change of solid plot and the fear factor 35. Drew Barrymore was slated directors ultimately resulted in just the right amount to to star in scream. in the third one being the up the quality of the movie. 36. James Cameron had to least impressive one of them The first two The Conjuring quash a mutiny on the set of all. movies did exactly this aliens. James Wan who directed perfectly but unfortunately, 37. Sissy Spacek was adamant the previous two movies has The Conjuring: The Devil that her own hand appear in reportedly given the reins to Made Me Do It seems to have Carrie’s final scene. Michael Chaves to direct the too much story in it and 38. Buffalo Bill’s dance in The third one, and many fans are relatively less horror. While Silence of the Lambs was not under the impression that this doesn’t necessarily make in the script. the reason why the third one it a bad movie, it somewhat 39. Jaws originally ended just is the weakest of them all is ruins the expectations of the like Moby-Dick. that it lacked the Wan magic. franchise followers. C2 FRIDAY 25 JUNE 2021 SNEAK PEEKS LOOK Work in Progress Selena Gomez’s love life has myself.’” She dropped Rare in past. Gomez jokingly said in been the subject of some 2020, her first album in five September that all her exes fascination for her many fans. years, and fans immediately think she’s “crazy,” during a The artist, 28, recently got started speculating about YouTube video with real about her relationship whether some of the tracks NikkieTutorials. “It’s hard in history in a candid interview were about her ex Justin quarantine. This is also not an with Vogue Australia. “I think Bieber, 27, after their on-and- invitation,” she said of her most of my experiences in off relationship from 2010 to dating life.
Recommended publications
  • Cancel Culture: Posthuman Hauntologies in Digital Rhetoric and the Latent Values of Virtual Community Networks

    Cancel Culture: Posthuman Hauntologies in Digital Rhetoric and the Latent Values of Virtual Community Networks

    CANCEL CULTURE: POSTHUMAN HAUNTOLOGIES IN DIGITAL RHETORIC AND THE LATENT VALUES OF VIRTUAL COMMUNITY NETWORKS By Austin Michael Hooks Heather Palmer Rik Hunter Associate Professor of English Associate Professor of English (Chair) (Committee Member) Matthew Guy Associate Professor of English (Committee Member) CANCEL CULTURE: POSTHUMAN HAUNTOLOGIES IN DIGITAL RHETORIC AND THE LATENT VALUES OF VIRTUAL COMMUNITY NETWORKS By Austin Michael Hooks A Thesis Submitted to the Faculty of the University of Tennessee at Chattanooga in Partial Fulfillment of the Requirements of the Degree of Master of English The University of Tennessee at Chattanooga Chattanooga, Tennessee August 2020 ii Copyright © 2020 By Austin Michael Hooks All Rights Reserved iii ABSTRACT This study explores how modern epideictic practices enact latent community values by analyzing modern call-out culture, a form of public shaming that aims to hold individuals responsible for perceived politically incorrect behavior via social media, and cancel culture, a boycott of such behavior and a variant of call-out culture. As a result, this thesis is mainly concerned with the capacity of words, iterated within the archive of social media, to haunt us— both culturally and informatically. Through hauntology, this study hopes to understand a modern discourse community that is bound by an epideictic framework that specializes in the deconstruction of the individual’s ethos via the constant demonization and incitement of past, current, and possible social media expressions. The primary goal of this study is to understand how these practices function within a capitalistic framework and mirror the performativity of capital by reducing affective human interactions to that of a transaction.
  • Malcolm's Video Collection

    Malcolm's Video Collection

    Malcolm's Video Collection Movie Title Type Format 007 A View to a Kill Action VHS 007 A View To A Kill Action DVD 007 Casino Royale Action Blu-ray 007 Casino Royale Action DVD 007 Diamonds Are Forever Action DVD 007 Diamonds Are Forever Action DVD 007 Diamonds Are Forever Action Blu-ray 007 Die Another Day Action DVD 007 Die Another Day Action Blu-ray 007 Dr. No Action VHS 007 Dr. No Action Blu-ray 007 Dr. No DVD Action DVD 007 For Your Eyes Only Action DVD 007 For Your Eyes Only Action VHS 007 From Russia With Love Action VHS 007 From Russia With Love Action Blu-ray 007 From Russia With Love DVD Action DVD 007 Golden Eye (2 copies) Action VHS 007 Goldeneye Action Blu-ray 007 GoldFinger Action Blu-ray 007 Goldfinger Action VHS 007 Goldfinger DVD Action DVD 007 License to Kill Action VHS 007 License To Kill Action Blu-ray 007 Live And Let Die Action DVD 007 Never Say Never Again Action VHS 007 Never Say Never Again Action DVD 007 Octopussy Action VHS Saturday, March 13, 2021 Page 1 of 82 Movie Title Type Format 007 Octopussy Action DVD 007 On Her Majesty's Secret Service Action DVD 007 Quantum Of Solace Action DVD 007 Quantum Of Solace Action Blu-ray 007 Skyfall Action Blu-ray 007 SkyFall Action Blu-ray 007 Spectre Action Blu-ray 007 The Living Daylights Action VHS 007 The Living Daylights Action Blu-ray 007 The Man With The Golden Gun Action DVD 007 The Spy Who Loved Me Action Blu-ray 007 The Spy Who Loved Me Action VHS 007 The World Is Not Enough Action Blu-ray 007 The World is Not Enough Action DVD 007 Thunderball Action Blu-ray 007
  • Cinematic Ghosts: Haunting and Spectrality from Silent Cinema to the Digital Era

    Cinematic Ghosts: Haunting and Spectrality from Silent Cinema to the Digital Era

    Cinematic Ghosts: Haunting and Spectrality from Silent Cinema to the Digital Era. Edited by Murray Leeder. Bloomsbury Academic, 2015 (307 pages). Anton Karl Kozlovic Murray Leeder’s exciting new book sits comfortably alongside The Haunted Screen: Ghosts in Literature & Film (Kovacs), Ghost Images: Cinema of the Afterlife (Ruffles), Dark Places: The Haunted House in Film (Curtis), Popular Ghosts: The Haunted Spaces of Everyday Culture (Blanco and Peeren), The Spectralities Reader: Ghost and Haunting in Contemporary Cultural Theory (Blanco and Peeren), The Ghostly and the Ghosted in Literature and Film: Spectral Identities (Kröger and Anderson), and The Spectral Metaphor: Living Ghosts and the Agency of Invisibility (Peeren) amongst others. Within his Introduction Leeder claims that “[g]hosts have been with cinema since its first days” (4), that “cinematic double exposures, [were] the first conventional strategy for displaying ghosts on screen” (5), and that “[c]inema does not need to depict ghosts to be ghostly and haunted” (3). However, despite the above-listed texts and his own reference list (9–10), Leeder somewhat surprisingly goes on to claim that “this volume marks the first collection of essays specifically about cinematic ghosts” (9), and that the “principal focus here is on films featuring ‘non-figurative ghosts’—that is, ghosts supposed, at least diegetically, to be ‘real’— in contrast to ‘figurative ghosts’” (10). In what follows, his collection of fifteen essays is divided across three main parts chronologically examining the phenomenon. Part One of the book is devoted to the ghosts of precinema and silent cinema. In Chapter One, “Phantom Images and Modern Manifestations: Spirit Photography, Magic Theater, Trick Films, and Photography’s Uncanny”, Tom Gunning links “Freud’s uncanny, the hope to use modern technology to overcoming [sic] death or contact the afterlife, and the technologies and practices that led to cinema” (10).
  • An October Film List for Cooler Evenings and Candlelit Rooms

    An October Film List for Cooler Evenings and Candlelit Rooms

    AUTUMN An October Film List For cooler evenings and candlelit rooms. For tricks and treats and witches with brooms. For magic and mischief and fall feelings too. And good ghosts and bad ghosts who scare with a “boo!” For dark haunted houses and shadows about. And things unexplained that might make you shout. For autumn bliss with colorful trees or creepier classics... you’ll want to watch these. FESTIVE HALLOWEEN ANIMATED FAVORITES GOOD AUTUMN FEELS BEETLEJUICE CORALINE AUTUMN IN NEW YORK CASPER CORPSE BRIDE BAREFOOT IN THE PARK CLUE FANTASTIC MR. FOX BREAKFAST AT TIFFANY’S DARK SHADOWS FRANKENWEENIE DEAD POET’S SOCIETY DOUBLE DOUBLE TOIL AND TROUBLE HOTEL TRANSYLVANIA MOVIES GOOD WILL HUNTING E.T. JAMES AND THE GIANT PEACH ONE FINE DAY EDWARD SCISSORHANDS MONSTER HOUSE PRACTICAL MAGIC GHOSTBUSTERS PARANORMAN THE CRAFT HALLOWEENTOWN THE GREAT PUMPKIN CHARLIE BROWN THE WITCHES OF EASTWICK HOCUS POCUS THE NIGHTMARE BEFORE CHRISTMAS WHEN HARRY MET SALLY LABYRINTH YOU’VE GOT MAIL SLEEPY HOLLOW THE ADAMS FAMILY MOVIES THE HAUNTED MANSION THE WITCHES SCARY MOVIES A HAUNTING IN CONNECTICUT RELIC THE LODGE A NIGHTMARE ON ELM STREET ROSEMARY’S BABY THE MOTHMAN PROPHECIES AMMITYVILLE HORROR THE AUTOPSY OF JANE DOE THE NUN ANNABELLE MOVIES THE BABADOOK THE OTHERS AS ABOVE SO BELOW THE BIRDS THE POSSESSION CARRIE THE BLACKCOAT’S DAUGHTER THE POSSESSION OF HANNAH GRACE HALLOWEEN MOVIES THE BLAIR WITCH PROJECT THE SHINING HOUSE ON HAUNTED HILL THE CONJURING MOVIES THE SIXTH SENSE INSIDIOUS MOVIES THE EXORCISM OF EMILY ROSE THE VILLAGE IT THE EXORCIST THE VISIT LIGHTS OUT THE GRUDGE THE WITCH MAMA THE HAUNTING THE WOMAN IN BLACK POLTERGEIST THE LAST EXORCISM It’s alljust a bit of hocus pocus..
  • Supernatural Aspect in James Wan's Movie the Conjuring Ii

    Supernatural Aspect in James Wan's Movie the Conjuring Ii

    SUPERNATURAL ASPECT IN JAMES WAN’S MOVIE THE CONJURING II A THESIS Submitted to the Adab and Humanities Faculty of Alauddin State Islamic University of Makassar in Partial Fulfillment of the Requirements for Humanities Degree By: KURNIAWATI NIM. 40300112115 ENGLISH AND LITERATURE DEPARTMENT ADAB AND HUMANITIES FACULTY ALAUDDIN STATE ISLAMIC UNIVERSITY OF MAKASSAR 2018 1 2 3 4 5 ACKNOWLEDGEMENTS Alhamdulillahi rabbil „alamin, the researcher would like to express her confession and gratitude to the Most Perfection, Allah swt for the guidance, blessing and mercy in completing her thesis. Shalawat and salam are always be delivered to the big prophet Muhammad saw his family and followers till the end of the time. There were some problems faced by the researcher in accomplishing this research. Those problems could not be solved without any helps, motivations, criticisms and guidance from many people. Special thanks always addressed to the researcher’ beloved mother, Hj.Kasya and her beloved father, Alm. Alimuddin for all their prayers, supports and eternally affection as the biggest influence in her success and happy life. Thanks to her lovely brother Suharman S.Pd and thank to her lovely sister Karmawati, Amd. Keb for the happy and colorful life. The researcher’s gratitude goes to the Dean of Adab and Humanity Faculty, Dr. H. Barsihannor, M.Ag, to the head and secretary of English and Literature Department, H. Muh. Nur Akbar Rasyid, M.Pd., M.Ed., Ph.D and Syahruni Junaid, S.S., M.Pd for their suggestions, helps and supports administratively, all the lecturers of English and Literature Department and the administration staff of Adab and Humanity Faculty who have given numbers helps, guidance and very useful knowledge during the years of her study.
  • The Final Girl Grown Up: Representations of Women in Horror Films from 1978-2016

    The Final Girl Grown Up: Representations of Women in Horror Films from 1978-2016

    Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2017 The inF al Girl Grown Up: Representations of Women in Horror Films from 1978-2016 Lauren Cupp Scripps College Recommended Citation Cupp, Lauren, "The inF al Girl Grown Up: Representations of Women in Horror Films from 1978-2016" (2017). Scripps Senior Theses. 958. http://scholarship.claremont.edu/scripps_theses/958 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. THE FINAL GIRL GROWN UP: REPRESENTATIONS OF WOMEN IN HORROR FILMS FROM 1978-2016 by LAUREN J. CUPP SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR TRAN PROFESSOR MACKO DECEMBER 9, 2016 Cupp 2 I was a highly sensitive kid growing up. I was terrified of any horror movie I saw in the video store, I refused to dress up as anything but a Disney princess for Halloween, and to this day I hate haunted houses. I never took an interest in horror until I took a class abroad in London about horror films, and what peaked my interest is that horror is much more than a few cheap jump scares in a ghost movie. Horror films serve as an exploration into our deepest physical and psychological fears and boundaries, not only on a personal level, but also within our culture. Of course cultures shift focus depending on the decade, and horror films in the United States in particular reflect this change, whether the monsters were ghosts, vampires, zombies, or aliens.
  • Jake Jensen† I. INTRODUCTION

    Jake Jensen† I. INTRODUCTION

    \\jciprod01\productn\T\TWR\3-2\TWR206.txt unknown Seq: 1 3-JAN-17 14:39 HOLLYWOOD BLACKOUT: IMPACT OF NEW ARCHITECTURAL COPYRIGHT LAW S ON THE FILMING INDUSTRY Jake Jensen† I. INTRODUCTION .......................................... 147 R II. OVERVIEW OF THE FILM INDUSTRY ..................... 148 R A. Importance of Filming Locations.................... 151 R 1. Cost-Effectiveness .............................. 151 R 2. Higher Quality.................................. 153 R III. OVERVIEW OF COPYRIGHT LAW ........................ 157 R A. Copyrights in General ............................... 157 R B. Architecture and Copyrights......................... 159 R C. De Minimis Solution and Its Problems .............. 160 R D. How Do Filmmakers Normally Go About Obtaining the Rights to Film Certain Monuments? ............. 161 R 1. Obtaining the Rights ........................... 161 R 2. Examples of Problems if Rights are Not Obtained........................................ 163 R IV. FREEDOM OF PANORAMA LAW S ........................ 165 R A. Freedom of Panorama Laws in General ............ 165 R B. What are the New Laws in Consideration? .......... 166 R C. Effect of New Laws on the Film Industry ........... 167 R 1. Tougher Enforcement........................... 168 R 2. Higher Prices ................................... 169 R V. SOLUTION ............................................... 170 R VI. CONCLUSION ............................................ 172 R I. INTRODUCTION Imagine a world where every movie has a black background instead of the beautiful scenery and architecture that is customary. Now imag- ine a world where every picture taken and posted on social media for friends to see has that same black screen. Unfortunately, these scena- rios are starting to become a reality. Several countries have started to enforce laws such as these on many of their national monuments through monuments copyright protections.1 † J.D. Candidate, May 2017, Texas A&M University School of Law; B.A., Latin American Studies, April 2014, Brigham Young University.
  • Whither the Gender of Get Out: a Critique of the Cinematic (Im)Possibilities of the Black Political Imagination

    Whither the Gender of Get Out: a Critique of the Cinematic (Im)Possibilities of the Black Political Imagination

    University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 1-1-2018 Whither the Gender of Get Out: A Critique of the Cinematic (Im)Possibilities of the Black Political Imagination Daelena Tinnin University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the Broadcast and Video Studies Commons, and the Gender, Race, Sexuality, and Ethnicity in Communication Commons Recommended Citation Tinnin, Daelena, "Whither the Gender of Get Out: A Critique of the Cinematic (Im)Possibilities of the Black Political Imagination" (2018). Electronic Theses and Dissertations. 1423. https://digitalcommons.du.edu/etd/1423 This Thesis is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. Whither the Gender of Get Out: A Critique of the Cinematic (Im) Possibilities of the Black Political Imagination __________ A Thesis Presented to the Faculty of Social Sciences University of Denver __________ In Partial Fulfillment of the Requirements for the Degree Master or Arts __________ by Daelena Tinnin June 2018 Advisor: Dr. Armond R. Towns Author: Daelena Tinnin Title: Whither the Gender of Get Out: A Critique of the Cinematic (Im) Possibilities of the Black Political Imagination Advisor: Dr. Armond R. Towns Degree Date: June 2018 Abstract This thesis investigates the entanglements of spatialized racial-sexual violence, conceptualizations of black female subjectivity, questions of the limitations and excesses of media representations and the socioeconomic, cultural and spatiotemptoral relations that make black images visible and (im) possible as they are situated in the cinematic black political imagination.
  • Language of Darkness

    Language of Darkness

    ARTS-UG 1611 | FALL 2018 CLASS : TUESDAYS + THURSDAYS, 6:20 PM - 9:00 PM 194 MERCER STREET, ROOM 208 instructor Pedro Cristiani 1 Washington Pl, Room 431 (212) 992.7772 office hours : Wednesdays, 3:00 - 4:30 PM [email protected] “Horror is a reaction— it’s not a genre.” — John Carpenter course description From Murnau’s Nosferatu to Bryan Fuller’s Hannibal, horror has proven to spawn its own storytelling archetypes, serving as strong subtext for race, faith, politics and sexuality. This seven week arts workshop gives the participants the screenwriter’s tools and weapons to research, develop and execute an original genre feature outline. We will explore how different horror auteurs deliver a unique vision from the same source material, as well as how this particular genre has transcended and influenced even the most “respected” mainstream directors. The sessions will not only cover the question of subverting narrative components and theme, but also creating “mood” and the “sense of the ominous”. Students will research and settle on an original horror source [literary, folkloric or real-life], and will be guided throughout the stages of creating their own unique mythology, as part of the fully- developed feature outline— which will then generate a short film script in proper industry- standard format. In-class screening excerpts will include Dracula [Todd Browning and F. F. Coppola], The Thing [John Carpenter], Ringu [Hideo Nakata], Get Out [Jordan Peele], Let The Right One In [Tomas Alfredson], Rosemary’s Baby [Roman Polanski], The Fly [David Cronenberg], American Psycho [Mary Harron], Ju-On [Takashi Shimizu], The Shining [Stanley Kubrick], The Autopsy of Jane Doe [André Øvredal].
  • How the Horror Genre Revitalizes Macbeth

    How the Horror Genre Revitalizes Macbeth

    SOMETHING WICKED THIS WAY COMES: HOW THE HORROR GENRE REVITALIZES MACBETH A Paper Submitted to the Graduate Faculty of the North Dakota State University of Agriculture and Applied Science By Rebecca Jacquelyn Patton Crisman In Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Major Department: English Option: Literature April 2019 Fargo, North Dakota North Dakota State University Graduate School Title Something Wicked This Way Comes: How the Horror Genre Revitalizes Macbeth By Rebecca Jacquelyn Patton Crisman The Supervisory Committee certifies that this disquisition complies with North Dakota State University’s regulations and meets the accepted standards for the degree of MASTER OF ARTS SUPERVISORY COMMITTEE: Dr. Rebecca Weaver-Hightower Chair Dr. Alison Graham Bertolini Jess Jung, MFA Approved: April 11, 2019 Dr. Rebecca Weaver-Hightower Date Department Chair ABSTRACT This project examines Rupert Goold’s adaptation of Shakespeare’s Macbeth in terms of the horror genre. Using filmic elements of the horror genre, touchstone horror texts, and Carol Clover’s Men, Women, and Chainsaws, this project examines the Witches and Lady Macbeth as they are situated in the horror genre using various filmic elements. This project examines the character tropes of the horror genre – the monster, the victim, and the hero, and the ways in which the Witches and Lady Macbeth are at various points all three of these characters – an impossibility, within the horror genre. This adaptation, this project finds, disrupts the tropes of horror characterization, in order to illustrate the ways in which these still used tropes are problematic and damaging in terms of gender identity.
  • The Contemporary American Horror Film Remake, 2003-2013

    The Contemporary American Horror Film Remake, 2003-2013

    RE-ANIMATED: THE CONTEMPORARY AMERICAN HORROR FILM REMAKE, 2003-2013 Thesis submitted by Laura Mee In partial fulfilment of the requirements for the award of Doctor of Philosophy De Montfort University, March 2014 Abstract This doctoral thesis is a study of American horror remakes produced in the years 2003-2013, and it represents a significant academic intervention into an understanding of the horror remaking trend. It addresses the remaking process as one of adaptation, examines the remakes as texts in their own right, and situates them within key cultural, industry and reception contexts. It also shows how remakes have contributed to the horror genre’s evolution over the last decade, despite their frequent denigration by critics and scholars. Chapter One introduces the topic, and sets out the context, scope and approach of the work. Chapter Two reviews the key literature which informs this study, considering studies in adaptation, remaking, horror remakes specifically, and the genre more broadly. Chapter Three explores broad theoretical questions surrounding the remake’s position in a wider culture of cinematic recycling and repetition, and issues of fidelity and taxonomy. Chapter Four examines the ‘reboots’ of one key production company, exploring how changes are made across versions even as promotion relies on nostalgic connections with the originals. Chapter Five discusses a diverse range of slasher film remakes to show how they represent variety and contribute to genre development. Chapter Six considers socio-political themes in 1970s horror films and their contemporary post-9/11 remakes, and Chapter Seven focuses on gender representation and recent genre trends in the rape-revenge remake.
  • The Conjuring 2: the Enfield Poltergeist Megan Asri Humaira, Rasmitadila, Achmad Samsudin

    The Conjuring 2: the Enfield Poltergeist Megan Asri Humaira, Rasmitadila, Achmad Samsudin

    INTERNATIONAL JOURNAL OF SCIENTIFIC & TECHNOLOGY RESEARCH VOLUME 8, ISSUE 08, AUGUST 2019 ISSN 2277-8616 Participant Types In Translation In Subtitle Film "The Conjuring 2: The Enfield Poltergeist Megan Asri Humaira, Rasmitadila, Achmad Samsudin Abstract— Translation of participants realized in nouns greatly influences the integrity of the meaning that the source language wants to convey. In fact, with differences in language rules, the meaning of translation in the target language can be very different from the meaning in the source language. This can lead to a misunderstanding of a series of events. The purpose of this study was to find out in depth about the types of participants in translating participants from English to Indonesian on the subtitle of the film "The Conjuring 2: The Enfield Poltergeist". This study uses a systemic functional linguistics approach with content analysis method. The results of this study were dominated by the participant range with a total of 41 elements of nouns (23.4%), and actor participants with a total of 29 elements of nouns (16.6%). Both types of participants were included in the material process which shows that the clauses contained in this movie subtitle show that the texts are a description of every process that is being carried out or is happening. Translation of participants in subtitles takes into account the use of language contained in each clause so that the delivery of messages from the source language (SL) is delivered based on the grammar or content of the message into the target language (TL) with due regard to the suitability of the grammar applicable in TL.