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Young Frankenstein"
"YOUNG FRANKENSTEIN" SCREENPLAY by GENE WILDER FIRST DRAFT FADE IN: EXT. FRANKENSTEIN CASTLE A BOLT OF LIGHTNING! A CRACK OF THUNDER! On a distant, rainy hill, the old Frankenstein castle, as we knew and loved it, is illuminated by ANOTHER BOLT OF LIGHTNING. MUSIC: AN EERIE TRANSYLVANIAN LULLABY begins to PLAY in the b.g. as we MOVE SLOWLY CLOSER to the castle. It is completely dark, except for one room -- a study in the corner of the castle -- which is only lit by candles. Now we are just outside a rain-splattered window of the study. We LOOK IN and SEE: INT. STUDY - NIGHT An open coffin rests on a table we can not see it's contents. As the CAMERA SLOWLY CIRCLES the coffin for a BETTER VIEW... A CLOCK BEGINS TO CHIME: "ONE," "TWO," "THREE," "FOUR..." We are ALMOST FACING the front of the coffin. "FIVE," "SIX," "SEVEN," "EIGHT..." The CAMERA STOPS. Now it MOVES UP AND ABOVE the satin-lined coffin. "NINE," "TEN," "ELEVEN," "T W E L V E!" CUT TO: THE EMBALMED HEAD OF BEAUFORT FRANKENSTEIN Half of still clings to the waxen balm; the other half has decayed to skull. Below his head is a skeleton, whose bony fingers cling to a metal box. A HAND reaches in to grasp the metal box. It lifts the box halfway out of the coffin -- the skeleton's fingers rising, involuntarily, with the box. Then, as of by force of will, the skeleton's fingers grab the box back and place it where it was. Now the "Hand" -- using its other hand -- grabs the box back from the skeleton's fingers. -
Pearson English Active Reading Level 3: Frankenstein 9781292121512
CHAPTER 1 Young Frankenstein I was interested in the secrets of the sky and the earth, of the natural world. y name is Victor Frankenstein. I come from Geneva, in Switzerland, and M my family is one of the most important in that country. When I was very young, my parents travelled a lot. I was their only child, and they took me with them. My parents were kind and they loved me very much. My earliest memories are happy ones. When I was about five years old, we stayed for a week at Lake Como in Italy. My mother was a kind woman and visited a poor family on a farm. They had five children. Four had dark hair like the man and his wife, but the other child, a girl, had fair hair and looked quite different. The farmer’s wife told my mother the child’s history. The girl’s name was Elizabeth Lavenza, and she was the daughter of a rich man from Milan. Her mother died when she was born. Elizabeth’s father died too, trying to free his country from a bad government. He lost everything – his house and his money. It was all taken away. Hispages child was left with this family. My mother wanted to have another child very much. And she wanted a daughter. When she saw Elizabeth, she loved her immediately. She wanted to bring Elizabeth up as her own child. She talked to the farmer and his wife about her idea. The farmer and his wife loved the girl, but they agreed. -
JGP Vol 2 No 2.Pdf
ADAM MICKIEWICZ UNIVERSITY IN POZNAŃ Journal of Gender and Power Vol. 2, No. 2, 2014 POZNAŃ 2014 Journal of Gender and Power is aimed at providing an international forum for discussing vari‐ ous issues and processes of gender construction. It is a scholarly, interdisciplinary journal, which features articles in all fields of gender studies, drawing on various paradigms and ap‐ proaches. We invite scholars to submit articles and reviews reporting on theoretical considera‐ tions and empirical research. Journal of Gender and Power is published by Faculty of Educational Studies, Adam Mickiewicz University (Poznań – Poland). Editorial Board Editor‐in‐Chief Agnieszka Gromkowska‐Melosik Adam Mickiewicz University, Poland Editorial Assistant Michał Klichowski Adam Mickiewicz University, Poland Cecilia Åsberg (Linköping University, Sweden), Zygmunt Bauman (University of Leeds, England), Francesca Bettio (University of Siena, Italy), Mary Blair‐Loy (University of California, USA), Doris Chang (Wichita State University, USA), Miranda Christou (University of Cyprus, Cyprus), Lorraine Dowler (Pennsylvania State University, USA), Catherine Driscoll (University of Sydney, Australia), Virgínia Ferreira (University of Coimbra, Portugal), Eva Fodor (Central European University, Hungary), Eleanor Gordon (University of Glasgow, Scotland), Lawrence Grossberg (University of North Carolina at Chapel Hill, USA), Anita Harris (Monash University, Australia), Beata Kowalska (Jagiellonian University in Cracow, Poland), Michael A. Messner (University of Southern -
Frankenstein in Mary Shelley’S Novel “Frankenstein”
A DESCRIPTION OF THE MAIN CHARACTER OF FRANKENSTEIN IN MARY SHELLEY’S NOVEL “FRANKENSTEIN” A PAPER WRITTEN BY RAHMA KESUMA ANJANI REG. NO: 152202056 DIPLOMA III ENGLISH STUDY PROGRAM FACULTY OF CULTURE STUDY UNIVERSITY OF NORTH SUMATERA MEDAN 2018 UNIVERSITAS SUMATERA UTARA It has been Approved by Supervisor, Dra. Diah Rahayu Pratama. M.Pd NIP. 195612141986012001 Submitted to Faculty of Culture Study. University of North Sumatera in partial fulfillment of the requirements for Diploma III in English Study Program. Approved by Head of Diploma III English Study Program, Dra. Swesana Mardia Lubis. M.Hum NIP. 19571002 198601 2 003 Approved by the Diploma III of English Study Program Faculty of Culture Study, University of North Sumatera. UNIVERSITAS SUMATERA UTARA As a Paper for the Diploma III Examination Accepted by the Board of Examiners in partial of the requirements for the D-III Examination of the Diploma III English Study Program, Faculty of Culture Study, University of North Sumatera. The examination is held 10th January 2018 Faculty of Culture Study University of North Sumatera Board of Examination : 1. Dra. Swesana Mardia Lubis. M.Hum 2. Dra. Diah Rahayu Pratama. M.Pd 3. Riko Andika Rahmat Pohan. S.S. M.Hum UNIVERSITAS SUMATERA UTARA AUTHOR’S DECLARATION I am, RAHMA KESUMA ANJANI, declare that I am the sole author of this paper. Except where reference is made in the text of this paper, this paper contains no material published elsewhere or extracted in whole or in part from a paper by which I have qualified for or awarded another degree. No other person‟s work has been used without due acknowledgement in the main text of this paper. -
Screams on Screens: Paradigms of Horror
Screams on Screens: Paradigms of Horror Barry Keith Grant Brock University [email protected] Abstract This paper offers a broad historical overview of the ideology and cultural roots of horror films. The genre of horror has been an important part of film history from the beginning and has never fallen from public popularity. It has also been a staple category of multiple national cinemas, and benefits from a most extensive network of extra-cinematic institutions. Horror movies aim to rudely move us out of our complacency in the quotidian world, by way of negative emotions such as horror, fear, suspense, terror, and disgust. To do so, horror addresses fears that are both universally taboo and that also respond to historically and culturally specific anxieties. The ideology of horror has shifted historically according to contemporaneous cultural anxieties, including the fear of repressed animal desires, sexual difference, nuclear warfare and mass annihilation, lurking madness and violence hiding underneath the quotidian, and bodily decay. But whatever the particular fears exploited by particular horror films, they provide viewers with vicarious but controlled thrills, and thus offer a release, a catharsis, of our collective and individual fears. Author Keywords Genre; taboo; ideology; mythology. Introduction Insofar as both film and videogames are visual forms that unfold in time, there is no question that the latter take their primary inspiration from the former. In what follows, I will focus on horror films rather than games, with the aim of introducing video game scholars and gamers to the rich history of the genre in the cinema. I will touch on several issues central to horror and, I hope, will suggest some connections to videogames as well as hints for further reflection on some of their points of convergence. -
American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE -
Hotel Transylvania1
kids+media 1/13 Angst und ihre Überwindung – „There's nothing wrong with being scared, as long as it doesn't change who you are“: Monströse Bedeutungsgewebe in kinder- freundlichen Animationsfilmen Von Tamara Werner Ein Hotel voller Monster. Emsiges Treiben herrscht in der Eingangshalle eines riesigen und abgele- genen Gruselschlosses, des Hotel Transylvania1. Unterschiedlichste Monster strömen durch die Ein- gangstore des Hotels, welches seine Gäste zur Urlaubszeit willkommen heisst und das Personal des Hauses gehörig ins Schwitzen bringt. So haben es beispielsweise die grünen Hexen mit grossen Na- sen und schwarzer Kleidung sehr eilig. Denn die knorrigen Damen sind die Putzfrauen des Hauses und haben Einiges zu tun, denn auch Monster machen Dreck, wünschen aber Sauberkeit. Die Gäste – Yetis, Werwölfe, Vampire, Skelette, Mumien und viele andere (Abb. 1) – kommen von überall her, um in den Mauern des Hotels mit ihren Freunden, den Urlaub zu verbringen, sich im Ambiente der bunten Schar umsorgen zu lassen und sich erholen zu können. Diese Erholung wird ihnen ermög- licht durch die schützende Sicherheit der abgelegenen und abgeschotteten Burg, die sich fernab von menschlichem Leben befindet. Abb. 1: Graf Dracula begrüsst seine bunte Monsterschar (00:09:33 Hotel Transylvania 2012). Die Monster in Hotel Transylvania – besonders Frankensteins Monster und Graf Dracula – verweisen einerseits auf ihre populärkulturellen Horror-Wurzeln, werden andererseits aber in eine neue fanta- stische Konstellation verlegt und individuell weiterentwickelt. -
Sample Script
The Rocky Monster Show Junior Script by Malcolm Sircom 10/050619/23 ISBN: 978 1 89875 479 4 Published by Musicline Publications P.O. Box 15632 Tamworth Staffordshire B78 2DP 01827 281 431 www.musiclinedirect.com Licences are always required when published musicals are performed. Licences for musicals are only available from the publishers of those musicals. There is no other source. All our Performing, Copying & Video Licences are valid for one year from the date of issue. If you are recycling a previously performed musical, NEW LICENCES MUST BE PURCHASED to comply with Copyright law required by mandatory contractual obligations to the composer. Prices of Licences and Order Form can be found on our website: www.musiclinedirect.com The Rocky Monster Show (Junior) – Script 17 PROLOGUE After a very ‘Beginning of Time’ type musical introduction, the music changes to Rock. The Soloists come on, one by one, to sing their lines. The lines’ distribution can be at the Director’s discretion or it could be sung by all. The chorus can, if wished, be a permanent choir, set at the sides, or there can be a separate choir in addition. TRACK 1: EVOLUTION (SONG) 1: IN THE BEGINNING THERE WAS MIASMA... 2: AND A SOUPY SORT OF PLASMA... 3: AND FROM THIS PHANTAGASMA... ALL 3: THERE CAME LIFE! 4: AND WHILE ITS BED WAS HOT AND STEAMING... 5: WITH ITS BIRTH PANGS IT WAS SCREAMING... 6: THE PRIMEVAL SLIME WAS TEEMING... ALL 6: WITH LIFE! + CHORUS: EVOLUTION! EVOLUTION! IS IT JUST A CHEMICAL SOLUTION? CHANGE, MUTATE AND BLEND, MAKE AND MATCH AND MEND, WHERE’S IT GOING TO END? EVOLUTION! 7: THERE WERE AMOEBA STARTED BREATHING.. -
PAPER #2: CRITICAL COMPARISON (20%) Due Monday 4/8
PAPER #2: CRITICAL COMPARISON (20%) Due Monday 4/8 For your second paper, you will write a 1100 word (minimum) critical review of an adaptation of Frankenstein. Compare and contrast both versions of the story, and argue whether the newer version is a good adaptation of the original work. After we finish reading Frankenstein in class, choose a film or stage adaptation to compare/contrast with the book. - NOTE: If you find an adaptation of Frankenstein that is in a different medium other than film or theater, such as television, graphic novels, video games, etc., then you are free to do that. But please avoid silly cartoons that merely draw inspiration from Frankenstein, like Scooby Doo or Hotel Transylvania, as those don’t generally make for good papers. - The adaptation you choose can be either old or recent. It can be a serious take on the story, like Kenneth Branagh’s Mary Shelley’s Frankenstein (1994), or a more comedic film, like Mel Brooks’s Young Frankenstein (1974). It can also be a somewhat loose adaptation or reinterpretation, like Tim Burton’s Frankenweenie (2012). Once you have chosen your adaptation, analyze it and write a persuasive essay arguing whether or not the adaptation is a good representation of the original story. - Your whole paper should be centered around your claim, which should be a statement about the quality of this adaptation: is it a good or bad adaptation? Is it faithful to the original story? Does it improve upon the story, or does it change it in negative ways? - Support your claim with evidence and reasoning. -
Young Frankenstein • May 10-15, 2011 • TPAC’S Andrew Jackson Hall
OnStage The official playbill and performing arts magazine of the TENNESSEE PERFORMING ARTS CENTER HCA/TriStar Broadway at TPAC • TPAC Family Field Trip • TPAC Presents • TPAC’s Signature Series Young Frankenstein • May 10-15, 2011 • TPAC’s Andrew Jackson Hall www.tpac.org POWERING YOUR family time u plugged It’s often said that there are no small parts. At First Tennessee, we believe that there are no small dreams either. That’s why we offer a wide-range of financial services designed to help your family enjoy more of the things that matter most. So whether you’re looking for a convenient checking account or help with a home loan, our friendly staff is always available to play a supporting role. Banking products and services provided by First Tennessee Bank National Association. Member FDIC. ©2009 First Tennessee Bank National Association. www.firsttennessee.com Sure, it’s just a tire. Like the ancient redwood is just a tree. bridgestonetire.com 1-800-807-9555 tiresafety.com 11bridge5056 Arts 7.125x10.875.indd 1 1/28/11 1:46:37 PM REPRESENTATIONAL PHOTO REPRESENTATIONAL hen we learned how sick Mom was, we didn’t know what Wto do. We’re so thankful that we asked her doctor about Alive Hospice. They came into our home like family, helping Mom stay with us where she wanted to be. 1718 Patterson Street | Nashville, TN 37203 615-327-1085 or 800-327-1085 | www.alivehospice.org We provide loving care to people with life-threatening illnesses, support to their families, and service to the community in a spirit of enriching lives. -
Igor-Production-Notes.Pdf
and PRESENT PRODUCTION NOTES 1 2 MAIN TITLES Directed by Tony Leondis Written by Chris McKenna Produced by John D. Eraklis Produced by Max Howard Executive Producer Jean-Luc De Fanti Line Producer John McKenna Associate Producers Jamee Deruso Darius A. Kamali Matthew J. Parker Steve Buscemi John Cleese Jennifer Coolidge John Cusack 3 Arsenio Hall Sean Hayes Eddie Izzard Jay Leno James Lipton Molly Shannon Christian Slater Music by Patrick Doyle Editor Hervé Schneid a.c.e. Animation by Sparx Animation Studios Art Director Olivier Besson Animation Supervisors Christèle Jolens & Yoshimichi Tamura Character Designer Valérie Hadida 4 END TITLES Cast in order of appearance Igor John Cusack Dr. Holzwurm Myleene Klass Dr. Holzwurm’s Igor Robin Howard Dr. Herzschlag Matt McKenna Dr. Herzschlag’s Igor Daniel Hustwayte Dr. Glickenstein John Cleese Scamper Steve Buscemi Brain Sean Hayes Announcer Jess Harnell Dr. Schadenfreude Eddie Izzard Jaclyn Jennifer Coolidge King Malbert Jay Leno Heidi Jennifer Coolidge Eva Molly Shannon Blind Woman Zoë Bright Blind Orphans Sophia Eraklis A. Cheron Hall Alexander Leondis A. Cheron Hall Juliana Leondis Michael Leondis Nicole Leondis Robin Tisserand Buzz Offmann Paul C. Vogt Grand Dame Kay Cole As Himself James Lipton Dr. Schadenfreude’s Igor Christian Slater Carl Cristall Arsenio Hall Tatiana Tayah Howard Royal Guards Justin Eick Jess Harnell Killiseum Fans Zoë Bright John Eraklis 5 Max Howard Tony Leondis Chris McKenna Additional Screenplay Material Tony Leondis John Hoffman Dimitri Toscas Preproduction Conceptual -
Franklin Theatre Movie List
11/5/2020 Grid view Grid view # Title Genre Rating Run Time Volume 1 (500) Days of Summer Comedy Drama Romance Indie PG-13 1:35 -15.0 dB 2 A Quiet Place Horror Comedy Sci-Fi PG-13 1:30 3 Aladdin Family Animated Comedy G 1:30 4 All About Eve Drama Classic Not Rated 2:18 5 Amelie Comedy Romance R 2:02 6 American Graffiti Comedy Drama PG 1:50 7 An American in Paris Drama Musical Romance Classic 1:54 8 Annie (1981) Comedy Drama Family Musical PG 2:07 9 Avatar Action Sci-Fi Fantasy PG-13 2:42 10 Babe Comedy Drama Family G 1:31 11 Back to the Future Trilogy 12 Bambi Animated Family G 1:10 -23.0 dB 13 Beauty & The Beast (1991) Animated Family Musical G 1:42 14 Beauty and The Beast (2017) Family Musical Fantasy PG 2:09 15 Beetlejuice Comedy Fantasy PG 1:32 16 Ben-Hur (1959) Drama Adventure G 3:32 -19.0 dB 17 Ben-Hur (2016) Action Drama PG-13 2:03 18 Big Lebowski, The Comedy R 1:57 -15dB https://airtable.com/tbliO3nSlMxjireyP/viwBkmtxU2ybFSqbm?blocks=hide 1/25 11/5/2020 Grid view # Title Genre Rating Run Time Volume 19 Big Trouble in Little China Action Comedy PG-13 1:39 -7.0 20 Bishop's Wife, The Christmas Comedy Drama Classic Not Rated 1:49 21 Black Swan Drama Thriller R 1:48 22 Blazing Saddles Comedy Western R 1:33 23 Blind Side, The Biopic Drama Sport PG-13 2:09 24 Breakfast at Tiffany’s Classic Comedy Drama Romance Not Rated 1:55 25 Breakfast Club, The Comedy Drama R 1:37 26 Bridesmaids Comedy Romance R 2:05 27 Bridget Jones’s Diary Comedy Christmas Romance R 1:37 28 Butch Cassidy and the Sundance … Biopic Drama Western PG 1:50 29 Caddyshack