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Feature • the Worst Movie Ever!
------------------------------------------Feature • The Worst Movie Ever! ----------------------------------------- Glenn Berggoetz: A Man With a Plan By Greg Locke with the film showing in L.A., with the name of the film up line between being so bad that something’s humorous and so on a marquee, at least a few dozen people would stop in each bad it’s just stupid. [We shot] The Worst Movie Ever! over The idea of the midnight movie dates back to the 1930s night to see the film. As it turned out, the theater never put the course of two days – a weekend. I love trying to do com- when independent roadshows would screen exploitation the title of the film up on the marquee, so passers-by were pletely bizarre, inane things in my films but have the charac- films at midnight for the sauced, the horny and the lonely. not made aware of the film screening there. As it turned out, ters act as if those things are the most natural, normal things The word-of-mouth phenomenon really began to hit its only one man happened to wander into the theater looking to in the world.” stride in the 50s when local television stations would screen see a movie at midnight who decided that a film titled The Outside of describing the weird world of Glenn Berg- low-budget genre films long after all the “normal” people Worst Movie Ever! was worth his $11. goetz, the movie in question is hard to give an impression of were tucked neatly into bed. By the 1970s theaters around “When I received the box office number on Monday, I with mere words. -
American Independent Cinema 1St Edition Pdf, Epub, Ebook
AMERICAN INDEPENDENT CINEMA 1ST EDITION PDF, EPUB, EBOOK Geoff King | 9780253218261 | | | | | American Independent Cinema 1st edition PDF Book About this product. Hollywood was producing these three different classes of feature films by means of three different types of producers. The Suburbs. Skip to main content. Further information: Sundance Institute. In , the same year that United Artists, bought out by MGM, ceased to exist as a venue for independent filmmakers, Sterling Van Wagenen left the film festival to help found the Sundance Institute with Robert Redford. While the kinds of films produced by Poverty Row studios only grew in popularity, they would eventually become increasingly available both from major production companies and from independent producers who no longer needed to rely on a studio's ability to package and release their work. Yannis Tzioumakis. Seeing Lynch as a fellow studio convert, George Lucas , a fan of Eraserhead and now the darling of the studios, offered Lynch the opportunity to direct his next Star Wars sequel, Return of the Jedi Rick marked it as to-read Jan 05, This change would further widen the divide between commercial and non-commercial films. Thanks for telling us about the problem. Until his so-called "retirement" as a director in he continued to produce films even after this date he would produce up to seven movies a year, matching and often exceeding the five-per-year schedule that the executives at United Artists had once thought impossible. Very few of these filmmakers ever independently financed or independently released a film of their own, or ever worked on an independently financed production during the height of the generation's influence. -
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 -
Science Fiction/San Francisco Issue 46 Date: June 13, 2007 Editors: Jean Martin, Chris Garcia Email: [email protected] Copy Editor: David Moyce Layout Editor: Eva Kent
Science Fiction/San Francisco Issue 46 Date: June 13, 2007 Editors: Jean Martin, Chris Garcia email: [email protected] Copy Editor: David Moyce Layout Editor: Eva Kent TOC News and Notes .......................................................... Christopher J. Garcia ............................................................................................................... 2-4 Letters Of Comment .................................................. Jean Martin and Christopher J. Garcia ................................................................................... 5-9 Editorial ..................................................................... Christopher J. Garcia ............................................................................................................... 10 BayCon Survives, Thrives ........................................... Christopher J. Garcia ........................... Photos by Jim Bull and Jean Martin ........................... 11-16 BayCon Relocates, Rocks ........................................... España Sheriff ...................................... Photos by Jim Bull ...................................................... 17-20 Advice for the Convention Bound .............................. Dr. Noe ............................................... Photos by Jim Bull and Howeird ................................ 21-25 Space Cowboys Ball .................................................... Glenn D. “Mr. Persephone” Martin ..... Photos by Patrick White, Mike Smithwick, Jim Bull ... 26-28 BASFA Minutes: -
Science Fiction/San Francisco Issue 25 Date: July 5, 2006 Editors: Jean Martin, Chris Garcia Email: [email protected] Copy Editor: David Moyce Layout: Eva Kent
Science Fiction/San Francisco Issue 25 Date: July 5, 2006 Editors: Jean Martin, Chris Garcia email: [email protected] Copy Editor: David Moyce Layout: Eva Kent TOC News and Notes ...........................................Christopher J. Garcia ....................................................................................................3 Letters of Comment .....................................Jean Martin and Chris Garcia ....................................................................................4-6 Editorial .......................................................Jean Martin ................................................................................................................... 7 Ghosts and Surreal Art in Portland ...............Jean Marin ................................Photos Jean Martin ................................................8-11 Nemo Gould Sculptures ...............................Espana Sheriff ...........................Photos from www.nemomatic.com ......................12-13 Reading at Intersection for the Arts ..............Christopher J. Garcia ............................................................................................14-15 Klingon Celebration .....................................Jean Marin ................................Photos by Jean Martin .........................................16-21 BASFA Minutes ..........................................................................................................................................................................22-24 -
Press-File-2017.Pdf
MENU 2017 Edito ................................................................................................................................... 4 BIFFF Fun Facts ................................................................................................................... 5 Program ............................................................................................................................. 6 BIF Market .......................................................................................................................... 7 ArtBIFFF Expo .................................................................................................................... 8 2nd International Art Contest ............................................................................................ 9 Pimp My Chair .................................................................................................................. 10 34th Makeup Contest ....................................................................................................... 11 Gaming Madness day ....................................................................................................... 12 Magyar Movie Madness ................................................................................................... 13 Tromarathon .................................................................................................................... 14 Panorama ....................................................................................................................... -
Asian Extreme As Cult Cinema: the Transnational Appeal of Excess and Otherness Jessica Anne Hughes BA English and Film Studies
Asian Extreme as Cult Cinema: The Transnational Appeal of Excess and Otherness Jessica Anne Hughes BA English and Film Studies, Wilfrid Laurier University MA Film Studies, University of British Columbia A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2016 School of Communications and Arts Hughes 2 Abstract This thesis investigates the way Western audiences respond to portrayals of excess and otherness in Japanese Extreme cinema. It explores the way a recent (2006-2016) cycle of Japanese Splatter (J-Splatter) films, including The Machine Girl (Noboru Iguchi, 2008) and Tokyo Gore Police (Yoshihiro Nishimura, 2008), have been positioned as cult due to their over-the-top representations of violence and stereotypes of Japanese culture. Phenomenological research and personal interviews interrogate Western encounters with J-Splatter films at niche film festivals and on DVD and various online platforms through independent distributors. I argue that these films are marketed to particular Western cult audiences using vocabulary and images that highlight the exotic nature of globally recognised Japanese cultural symbols such as schoolgirls and geisha. This thesis analyses J-Splatter’s transnational, cosmopolitan appeal using an approach informed by the work of Ernest Mathijs and Jamie Sexton, Matt Hills, Henry Jenkins, and Iain Robert Smith, who read the relationship between Western audiences and international cult cinema as positive and meaningful cultural interactions, demonstrating a desire to engage in more global experiences. The chapters in this thesis use textual analysis of J-Splatter films and case studies of North American and Australian film festivals and distribution companies, which include interviews with festival directors and distributors, to analyse the nature of the appeal of J- Splatter to Western audiences. -
Open Access in Order to Make a Midnight Movie
This was the original script outline for the live podcast taping of Political Theater, which took place on October 19, 2017, at the University of Pennsylvania Law School. The show was recorded for Open Access Week 2017 as part of Penn Libraries’ OA Week events and co-sponsored by Penn IP Group (PIPG). This script may not reflect the final recording. Slides were mostly basic images - any movie clips are linked to from here. All episodes of Political Theater are available for streaming or download on iTunes, from the Political Theater page, under the "podcasts" tab at Front Row Central, or from the podcast catcher of your choice. Copyright © 2017 Martin Schneider & Marta Rusek. Some rights reserved. This and all other episodes of Political Theater are licensed under a Creative Commons Attribution-NonCommercial-ShareAlike (CC BY-NC-SA) 4.0 International license. For any other re-use, please contact [email protected] This episode can also be downloaded at -
2013 PROGRAMMING GUIDE Celebrating the 20Th Anniversary of Babylon 5
2013 PROGRAMMING GUIDE Celebrating the 20th Anniversary of Babylon 5 Art by Joe Corroney (Table 2237) and Hi Fi (Table 2235). Babylon 5 is copyright Warner Bros. 2 PHOENIX COMICON 2013 • PROGRAMMING GUIDE • PHOENIXCOMICON.COM PHOENIX COMICON 2013 • PROGRAMMING GUIDE • PHOENIXCOMICON.COM 3 TABLE OF CONTENTS Hyatt Regency Map .....................................................6 Renaissance Map ...........................................................7 Exhibitor Hall Map .................................................. 8–9 Programming Rooms ........................................... 10–11 Phoenix Comicon Convention Policies .............12 Exhibitor & Artist Alley Locations .............14-15 Welcome to Phoenix Comicon, Guest Locations...........................................................16 Guest Bios .............................................................. 18–22 the signature pop-culture event of Programming Schedule ................................. 24–35 the southwest! Gaming Schedule ..............................................36–42 If you are new to us, or have never been to a “comicon” before, we welcome you. Programming Descriptions.........................44–70 This weekend is the culmination of efforts by over seven hundred volunteers over the past twelve months all with a singular vision of putting on the most fun convention you’ll attend. Festivities kick off Thursday afternoon and continue throughout the weekend. Spend the day checking out the exhibitor hall, meeting actors and writers, buying that hard to -
Abstract Cult Movies Are a Collection of Movies So Poorly Defined That It Is
Abstract Cult movies are a collection of movies so poorly defined that it is uncertain whether we can speak of cult movies as a genre. This essay uses Jonathan Haidt’s theory on morality to explore how the characteristics of cult films have attracted a disproportionate response from thinkers who are open to experience and have low sensitivity to disgust. Those thinkers are, on average, to be found on the left side of the political spectrum, and the philosophies associated with liberal politics have resulted in a problematic definition of the movies. Those philosophies (Marxism and postmodernism) have failed to properly demarcate the borders around cult movies, making it unclear what movies belong to said category. This problem is in large part analogous to the problem that Thomas Szaz identifies as the problem of defining mental illness. That in failing to give due empirical evidence for a phenomena, one is at liberty to invent phenomena. Conservative thinkers who are, by definition, better at putting borders around concepts have written little on the subject. The latter part of the essay uses Camille Paglia’s theory of the chthonic to situate cult movies in the category of Dionysian literature, as opposed to Apollonian literature. This accounts for why an Apollonian movie, such as Star Wars: Episode IV – A New Hope, is a dubious contestant for cult film status, while The Rocky Horror Picture Show is a prototypical cult movie, even though the two films have similar story structures. Lastly, the essay disentangles people’s interest in cult movies from politics using Eric Neumann’s theory of consciousness and his variation on the hero principle to explain said interest. -
Retro Movies Flourish in Miami August 14, 2015 by Rene Rodriguez
Retro movies flourish in Miami August 14, 2015 By Rene Rodriguez As recently as five years ago, luring Miami moviegoers away from their home theaters, Heat tickets and jet skis to see older films with an audience was an impossible mission. Today, with the advent of Netflix, iTunes, online streaming and video on demand, the challenge might sound even harder. Instead, Miami’s moviegoing habits are thriving, buoyed by the success of seven stand-alone arthouses that have cultivated their own audiences. Nearly every documentary, independent and foreign-language movie released in the U.S. now plays here, which has helped nurture and grow Miami’s filmgoing habit. “Over the past decade, we’ve seen an exciting trend of new theaters coming on line with a clear mandate to provide more specialized film programming,” said Mark Boxer, senior vice-president of sales and distribution for IFC Films. “There’s a theatrical renaissance taking place that is benefitting Miami’s adventurous filmgoing community. The market has become a very important one [for us] when opening a film.” And much like music lovers have rediscovered the vinyl LP, Miami movie buffs are in the throes of an ardent love affair with retro films — from popular hits to esteemed art films, projected on 2K digital or, whenever possible, 35mm film. On any given week, you can choose to see cult favorites (Pink Floyd: The Wall, Heavy Metal), popular hits (Taxi Driver, Saturday Night Fever, Blade Runner) and classic art fare (Rebels of the Neon God, The Wages of Fear, the esteemed Apu trilogy) on the big screen in the company of like-minded fans. -
Movie Riffing at B-Fest: an Exploration of Unscripted In-Theater Audience Participation As Embodied Performance of Film Criticism
. Volume 18, Issue 1 May 2021 Movie riffing at B-Fest: An exploration of unscripted in-theater audience participation as embodied performance of film criticism Matt Foy, Upper Iowa University, USA Abstract: An increasingly rich area of interest in audience and media studies is the cultural practice of movie riffing: the performance of verbally or physically responding to a film with conspicuously critical and/or humorous observations. Riffing, a model of media consumption innovated and popularized by the cult television program Mystery Science Theater 3000, is a prominent feature of participatory audiencing rituals by which filmgoers and fan communities publicly engage in struggle over the meaning and value of mediated texts. Drawing on scholarship from cult audience, cultural and performance studies, this essay explores the state of ritual movie riffing at B-Fest, Northwestern University’s long- running annual twenty-four-hour celebration of ‘bad movies’ and the culture surrounding their public consumption. After riffing alongside B-Fest’s enthusiastic attendees, the author presents rhetorical strategies and discursive themes from B-Fest and considers movie riffing as a participatory, communal model of media criticism. Keywords: movie riffing, audiencing rituals, cult audiences, midnight movies One need only gaze across the landscape of McCormick Auditorium on the final weekend of January to know the attendees of B-Fest take their bad movies seriously. By 6:00 p.m. Friday each of McCormick’s 200-plus seats will be occupied with festival attendees and their belongings: winter coats, backpacks, blankets and pillows, knotted plastic grocery sacks of provisions, and hundreds of thin white paper plates.