Download Official Festival Programme HERE!
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
A Peek Inside the Personal Library of a Librarian Douglas Rednour Georgia State University, [email protected]
Georgia Library Quarterly Volume 48 Article 2 Issue 3 Summer 2011 7-1-2011 My Own Private Library: A peek inside the personal library of a librarian Douglas Rednour Georgia State University, [email protected] Follow this and additional works at: https://digitalcommons.kennesaw.edu/glq Recommended Citation Rednour, Douglas (2011) "My Own Private Library: A peek inside the personal library of a librarian," Georgia Library Quarterly: Vol. 48 : Iss. 3 , Article 2. Available at: https://digitalcommons.kennesaw.edu/glq/vol48/iss3/2 This Article is brought to you for free and open access by DigitalCommons@Kennesaw State University. It has been accepted for inclusion in Georgia Library Quarterly by an authorized editor of DigitalCommons@Kennesaw State University. For more information, please contact [email protected]. Rednour: My Own Private Library A peek inside the personal library of a librarian by Douglas Rednour An obsession for experiencing the spine-tingle of dark Cushing and Christopher Lee, Hammer also excelled and fantastic cinema has led me over the years to at creating great atmosphere by filming in more amass a decent little personal library of horror-related authentic-looking locations than Hollywood had access materials. to, with the final ingredient in their formula being the use of color film to push the impact of the blood The earliest memories I have of watching horror films and gruesomeness. They are also harder to collect in involve the classic Universal cycle of black and white sets, because Hammer sold various films to American moody horror. Nineteen thirty-three’s The Invisible distributors as best they could. -
How to Survive a Horror Movie Seth Grahame-Smith
How to Survive a Horror Movie Subtitle: All the Skills to Dodge the Kills Seth Grahame-Smith TARGET CONSUMER: Horror movie fans Movie buffs Fans of Seth-Grahame Smith and his books Don't be afraid: no vampire, zombie horde, cannibal hillbilly, Japanese vengeance ghost, or other horror movie monster can hurt you...as long as you have this book. Are you reading this in a cornfield, at a summer camp, or in an abandoned mental institution? Have you noticed that everything is poorly lit, or that music surges every time you open a door? If the answer is yes, you're probably trapped in a horror movie. But don't freak out...just read this book, which reveals how to overcome every obstacle found in scary films. Including: ON SALE 9/24/2019 How to determine what type of horror film you're trapped in. Announced 1st Print: 25,000 The five types of slashers and how to defeat them. How to handle killer dolls, murderous automobiles, and other haunted objects. QUIRK BOOKS How to deal with alien invasions, zombie apocalypses, and other global TR: 9781683691464 / $14.99/$19.99 threats. EL: 9781594745683 / $9.99/$16.95 What to do if you did something last summer, if your corn has children in it, BISAC 1: Performing Arts - Film - Genres - Horror or if you suspect you're already dead. BISAC 2: Humor - Form - Parodies Advanced escape techniques, like switching to a different film genre or BISAC 3: Social Science - Popular Culture inserting an awkward product placement. Page Count: 176 Trim Size: 5 x 7 Carton Count: 52 Written by best-selling author Seth Grahame-Smith (Pride and Prejudice and Zombies), with an introduction by horror icon Wes Craven, and complete with a curated list of 100 must-see horror films (and some to avoid at all costs), How Publicity and Marketing To Survive A Horror Movie is a hilarious must-read for any horror movie National Print and Online Media Campaign fan...and if you're lost in a cemetery, hiding from a killer clown, or being Feature in Quirk's Horror Newsletter followed by something not of this earth, it just might save your life. -
Hellbound Hearts Hellbound Hearts
(Read download) Hellbound Hearts Hellbound Hearts 6p58vOE7T Hellbound Hearts LpElBQppk FG-28897 xpCIqMBJD US/Data/Literature-Fiction F1VlHeBsM 3.5/5 From 810 Reviews Qix8YbXEP Paul Kane, Marie O'Regan FyvEnUGv2 ebooks | Download PDF | *ePub | DOC | audiobook wHiPqeNsy O0OcN22RG xQsCp2mlC HXuQLYPlt 62UOycZsw Rh5KvHcGc NCPiV3n6j VD18J1Svk 0 of 0 people found the following review helpful. Some greatness, some fillerBy HkgZOBIrZ Evan J. PetersonWhat's most impressive about this collection is the number of F4nN7jP5E stories written by people involved in the production of the Hellraiser films: 32toKHZwl Peter Atkins (screenwriter), Barbie Wilde and Nicholas Vince (actors who uivgt81p2 played Cenobites), etc. There are also stories by horror director Mick Garris DHYZpunlT and genre titans Neil Gaiman and Steve Niles. However, the quality of stories is UC8J7QCTC hit-or-miss.Like many anthologies loosely based on a pre-existing mythos, this rOj2TkZuD one is a mix of strong stories, crappy stories, and decent horror that probably lptxPU3FG isn't about the Hellraiser universe but managed to be close enough to fit the CVUv4YfeJ term "inspired by." Favorite stories include Barbie Wilde's "Sister Cilice," the 8uC2GS2vv origin of the so-called "Female Cenobite" written by the actress herself who je4izLbfM played her in part 2. I also thoroughly enjoyed Sarah Langan's "The Dark Ru6CZzLAx Materials Project" and Mark Morris's "Mother's Ruin." I won't knock the lesser- tVrmKC3SS known writers, but I will knock Richard Christian Matheson's flash fiction piece ON07mFR82 "Bulimia," which doesn't seem like a Hellraiser related piece at all. But I suppose having RCM in the book raises sales. -
The Dracula Film Adaptations
DRACULA IN THE DARK DRACULA IN THE DARK The Dracula Film Adaptations JAMES CRAIG HOLTE Contributions to the Study of Science Fiction and Fantasy, Number 73 Donald Palumbo, Series Adviser GREENWOOD PRESS Westport, Connecticut • London Recent Titles in Contributions to the Study of Science Fiction and Fantasy Robbe-Grillet and the Fantastic: A Collection of Essays Virginia Harger-Grinling and Tony Chadwick, editors The Dystopian Impulse in Modern Literature: Fiction as Social Criticism M. Keith Booker The Company of Camelot: Arthurian Characters in Romance and Fantasy Charlotte Spivack and Roberta Lynne Staples Science Fiction Fandom Joe Sanders, editor Philip K. Dick: Contemporary Critical Interpretations Samuel J. Umland, editor Lord Dunsany: Master of the Anglo-Irish Imagination S. T. Joshi Modes of the Fantastic: Selected Essays from the Twelfth International Conference on the Fantastic in the Arts Robert A. Latham and Robert A. Collins, editors Functions of the Fantastic: Selected Essays from the Thirteenth International Conference on the Fantastic in the Arts Joe Sanders, editor Cosmic Engineers: A Study of Hard Science Fiction Gary Westfahl The Fantastic Sublime: Romanticism and Transcendence in Nineteenth-Century Children’s Fantasy Literature David Sandner Visions of the Fantastic: Selected Essays from the Fifteenth International Conference on the Fantastic in the Arts Allienne R. Becker, editor The Dark Fantastic: Selected Essays from the Ninth International Conference on the Fantastic in the Arts C. W. Sullivan III, editor Library of Congress Cataloging-in-Publication Data Holte, James Craig. Dracula in the dark : the Dracula film adaptations / James Craig Holte. p. cm.—(Contributions to the study of science fiction and fantasy, ISSN 0193–6875 ; no. -
Xavier Aldana Reyes, 'The Cultural Capital of the Gothic Horror
1 Originally published in/as: Xavier Aldana Reyes, ‘The Cultural Capital of the Gothic Horror Adaptation: The Case of Dario Argento’s The Phantom of the Opera and Dracula 3D’, Journal of Italian Cinema and Media Studies, 5.2 (2017), 229–44. DOI link: 10.1386/jicms.5.2.229_1 Title: ‘The Cultural Capital of the Gothic Horror Adaptation: The Case of Dario Argento’s The Phantom of the Opera and Dracula 3D’ Author: Xavier Aldana Reyes Affiliation: Manchester Metropolitan University Abstract: Dario Argento is the best-known living Italian horror director, but despite this his career is perceived to be at an all-time low. I propose that the nadir of Argento’s filmography coincides, in part, with his embrace of the gothic adaptation and that at least two of his late films, The Phantom of the Opera (1998) and Dracula 3D (2012), are born out of the tensions between his desire to achieve auteur status by choosing respectable and literary sources as his primary material and the bloody and excessive nature of the product that he has come to be known for. My contention is that to understand the role that these films play within the director’s oeuvre, as well as their negative reception among critics, it is crucial to consider how they negotiate the dichotomy between the positive critical discourse currently surrounding gothic cinema and the negative one applied to visceral horror. Keywords: Dario Argento, Gothic, adaptation, horror, cultural capital, auteurism, Dracula, Phantom of the Opera Dario Argento is, arguably, the best-known living Italian horror director. -
Conference Schedule
Gothic: Culture, subculture, counterculture Conference Programme (Please see from p.7 onwards for abstracts and participants’ contact details) Key to rooms: AR= Anteroom RR= Round Room WDR = Waldegrave Drawing Room SCR = Senior Combination Room BR = Billiard Room/D121 Day 1: Friday, 8 March 9.00 Coffee, Danish Pastries and Introductions (AR) 9.30-10.45: Parallel Session 1 Panel 1A (WDR): Gothic and Genre Fiction: Ghosts and Crime (Chair: Brian Ridgers) Marta Nowicka, ‘Gothic Ghosts from Horace Walpole to Muriel Spark’ Victoria Margree, ‘(Other) Wordly Goods: Gothic Inheritances in the Ghost Stories of Charlotte Riddell’ Andalee Motrenec, ‘Gothic Elements and Crime Fiction in Dracula and Frankenstein’ Panel 1B (BR): Southern European Gothic Architecture Graça P. Corrêa, ‘Gothic Spatial Theory and Aesthetics: The Ecocentric Conjoining of Underworld and Otherworld in Regaleira (Sintra, Portugal)’ Viviane Delpech, ‘The château d’Abbadia in Hendaye (France) : Antoine d’Abbadie’s romantic and political utopia’ Giulio Girondi, ‘Gothic Heritage in Renaissance Mantova’ Panel 1C (SCR): Gothic in Contemporary Fiction (Chair: Fred Botting) Andrew Teverson, ‘Blood Relations: Salman Rushdie and Anish Kapoor’s Gothic Nights’ Nadia van der Westhuizen, ‘Happily Ever Aftermath: Fairy Tales in Contemporary Gothic Fiction and Television’ Martin Dines, ‘American Suburban Gothic’ Panel 1D (RR): Horace Walpole and the Cultures of the Eighteenth Century (Chair: Fiona Robertson) Hsin Hsuan (Cynthia) Lin, ‘The Castle of Otranto and Strawberry Hill House: the Curious Cases’ Jonanthan Dent, ‘History’s Other: Horace Walpole’s Castle of Otranto and David Hume’s The History of England’ Zara Naghizadeh, ‘Horace Walpole’s ”Guardianship of Embryos and Cockleshells”’ Gothic: Culture, Subculture, CounterCulture An interdisciplinary Conference, 8-9 March 2013 www.smuc.ac.uk/gothic – Twitter: @StrawHillGothic – FB Group: ‘Gothic: Culture, Subculture, Counterculture’ 10.45 Refreshments (AR) 11.00 Plenary 1 (WDR): Avril Horner, ‘Walpole, the Gothic, and Surrealism’. -
Grimmfest Programming Team
partners Contents Introduction from the Festival Director 5 A huge ‘thank you’ to our partners: Preview Night 7 Film programme: Angst, Piss and Shit 14 Antisocial 22 Attack of the Brainsucker 13 Big Bad Wolves 29 The Body 33 The Borderlands 15 The Butterfly Room 32 The Conspiracy 29 Crazy For You 15 Curse of Chucky 9 Found 28 Girl at the Door 13 The Gloaming 11 The Guest 24 Hansel and Gretel Get Baked 7 Hellraiser (special event) 23 Home Sweet Home 12 ATTACK OFHouse THE With WEREWOLVES 100 Eyes 14 The Human Race 27 [LOBOS DEJohn ARGA] Dies at the End 31 Spain; 2012; Jug98 min Face 24 Kiss of the Damned 28 Director: Juan Martinez Moreno The Machine 34 Starring: Gorka Otxoa, Carlos Areces, Secun de la Make-up Workshop 22 Rosa Modus Anomali 26 Status: English Premiere My Amityville Horror 21 Screening: 6.45PM – 8.25PM Next Exit 12 The Bastard On Love Air Child Of… 15 Paul Naschy and John Landis Out There 25 After 15 yearsThe away, Plan Tomas, an unsuccessful writer, 22 returns to theRadio village Silence of Arga in his native Galicia, 9 sponsors supposedly toSamuel get an and award. Emily In reality,vs. The however,World he is 27 needed thereSFX to endSession a curse that has been hanging 23 over the village for the past hundred years. A huge ‘thank you’ to our sponsor: Shellshocked 34 GRIMM’s EYESleep VIEW: Working Achieving the same masterful 25 balance of blackSmiley comedy and genuine chills as the 21 classic AMERICANStalled WEREWOLF IN LONDON, Juan 33 Martinez Moreno’s gory and mordantly funny tribute to Thanatamorphose 31 the classic werewolf films of Spanish horror icon Paul To Jennifer 11 Naschy, and the Universal horror movies that inspired him, has beenThe a hugeWicker hit Man in Spain. -
Wfs Filmnotes Template
30 April 2013 www.winchesterfilmsociety.co.uk … why not visit our website to join in the discussion after each screening? Sightseers UK 2012 Every season when the committee Ben Wheatley is the outstanding young whittle down a long, long list to just British film-maker who got himself Directed by 16 films, there are one or two that talked about with his smart debut Down Ben Wheatley really intrigue us and we can’t wait to Terrace; then he scared the daylights out Director of Photography see. Sightseers is that film for 12/13! of everyone, as well as amusing and Laurie Rose baffling them, with his inspired and There is no direct French translation for ambiguous chiller Kill List. His talent Original Music and signature are vividly present in every Jim Williams the word ‘sightseers’, so Ben Wheatley’s new film is titled Touristes in Cannes, frame of this new movie, Sightseers, a Screenplay where it has screened as part of grisly and Ortonesque black comedy Alice Lowe Directors’ Fortnight. In a way, that’s about a lonely couple played by co- Steve Oram perfectly fitting: this flesh-creepingly writers Steve Oram and Alice Lowe. funny comedy turns into something that, Again, Wheatley is adept at summoning Cast rather worryingly, you can’t imagine an eerie atmosphere of Wicker Man Alice Lowe happening in any other country but disquiet; the glorious natural Tina England. Lowe and Oram’s script surroundings are endowed with a golden Steve Oram balances nimbly on the thread of razor sunlit glow and the trips to quaint Chris wire between horror and farce: the film venues of local interest are well Eileen Davies is frequently laugh-out-loud funny but observed: particularly Tina's heartbroken Carol the couple’s crimes are never trivialised, solo excursion to the Pencil Museum. -
POST-BRITISH CRIME FILMS and the ETHICS of RETRIBUTIVE VIOLENCE Mark Schmitt (TU Dortmund University)
CINEMA 11 152 “THEY’RE BAD PEOPLE – THEY SHOULD SUFFER”: POST-BRITISH CRIME FILMS AND THE ETHICS OF RETRIBUTIVE VIOLENCE Mark Schmitt (TU Dortmund University) In recent years, British popular genre cinema has displayed a tendency to allegorise the ethical ques- tions resulting from the nation’s social and political challenges of the 21st century.1 Whether it is the Blair government’s decision to join the US in the Iraq war in 2003 and the ensuing disillusionment with democracy and the futility of public protest, the austerity measures and subsequently increasing social divisions in the wake of the global financial crisis of 2008, the ongoing process of Scottish and Welsh devolution that challenges the very notion of a United Kingdom, Britain finds itself in a stage that Michael Gardiner has described as “post-British.”2 On the level of the nation-state, and especially with regard to Scottish and Welsh devolution, the post-British process can be identified as the “demo- cratic restructuring of each nation within union and each nation still affected by Anglophone imperial- ism”3, while the social structure of Britain is still marked by the internal fault lines of class divisions of class. The notion of “post-Britain” has been addressed in British film studies. William Brown has sug- gested that Britain’s cinematic output in the 21st century offers a “paradoxically post-British” perspec- tive which is reflected in subject matter, ideological points of view and modes of production.4 As Brown argues, such post-British perspectives can particularly be found in popular genre films such as 28 Days Later (2002) and V for Vendetta (2006).5 In the following, I will argue that this post-British sensibility in contemporary national genre cinema is aligned with urgent ethical questions regarding the nation state on both the British level as well as within a larger European context. -
1. Long Time Dead
1. LONG TIME DEAD In 2002, the filmmaker Richard Stanley sounded the death knell of ‘the great British horror movie’. His ‘obituary’, which appeared in Steve Chibnall and Julian Petley’s edited volume British Horror Cinema, lamented the general absence of any real directorial talent at the turn of the millennium, noting that the horror film directors ‘who really knew what they were doing escaped to Hollywood a long time ago’ (Stanley 2002: 194). Stanley cited the direct-to- video occult horror The 13th Sign (Jonty Acton and Adam Mason, 2000) as offering a glimmer of hope, but concluded that it was ‘still a long way below the minimum standard of even the most vilified 1980s product’ (2002: 193). Stanley’s pessimism was not unfounded (even if his assessment of The 13th Sign was perhaps a bit unfair). Hammer Films – the once-prolific film studio responsible for the first full-colour horror film, The Curse of Frankenstein (Terence Fisher), in 1957, and a host of other classic British horrors over the next two decades – buckled under market pressure and ceased making feature films in 1979. The 1980s, therefore, saw the production of only a handful of British horror films, which, at any rate, were mostly thought of as American productions that had peripheral British involvement, such as Stanley Kubrick’s blockbuster The Shining (1980) and Clive Barker’s franchise- initiating Hellraiser (1987). Others from the decade were artsy one-offs, such as the Gothic fairy tale The Company of Wolves (Neil Jordan, 1984), or (as was most often the case) amateurish flops, such as the cheap and clumsy monster movie Rawhead Rex (George Pavlou, 1986). -
GSC Films: S-Z
GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything. -
Film Reviews
Page 78 FILM REVIEWS Kill List (Dir. Ben Wheatley) UK 2011 Optimum Releasing Note: This review contains extensive spoilers Kill List is the best British horror film since The Descent (Dir. Neil Marshall, 2005). Mind you, you wouldn’t know that from the opening halfhour or so. Although it opens with an eerie scratching noise and the sight of a cryptic rune that can’t help but evoke the unnerving stick figure from The Blair Witch Project (Dir. Daniel Myrick and Eduardo Sánchez, 1999), we’re then plunged straight into a series of compellingly naturalistic scenes of domestic discord which, as several other reviews have rightly pointed out, evoke nothing so much as the films of Mike Leigh. (The fact that much of the film’s dialogue is supplied by the cast also adds to this feeling.) But what Leigh’s work doesn’t have is the sense of claustrophobic dread that simmers in the background throughout Wheatley’s film (his second, after 2009’s Down Terrace ). Nor have any of them – to date at least – had an ending as devastating and intriguing as this. Yet the preliminary scenes in Kill List are in no sense meant to misdirect, or wrongfoot the audience: rather, they’re absolutely pivotal to the narrative as a whole, even if many of the questions it raises remain tantalisingly unresolved. Jay (Neil Maskell) and his wife Shel (MyAnna Buring) live in a spacious, wellappointed suburban home (complete with jacuzzi) and have a sweet little boy, but theirs is clearly a marriage on the rocks, and even the most seemingly innocuous exchange between them is charged with hostility and mutual misunderstanding.