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H K a N D C U L T F I L M N E W S
More Next Blog» Create Blog Sign In H K A N D C U L T F I L M N E W S H K A N D C U LT F I L M N E W S ' S FA N B O X W E L C O M E ! HK and Cult Film News on Facebook I just wanted to welcome all of you to Hong Kong and Cult Film News. If you have any questions or comments M O N D AY, D E C E M B E R 4 , 2 0 1 7 feel free to email us at "SURGE OF POWER: REVENGE OF THE [email protected] SEQUEL" Brings Cinema's First Out Gay Superhero Back to Theaters in January B L O G A R C H I V E ▼ 2017 (471) ▼ December (34) "MORTAL ENGINES" New Peter Jackson Sci-Fi Epic -- ... AND NOW THE SCREAMING STARTS -- Blu-ray Review by ... ASYLUM -- Blu-ray Review by Porfle She Demons Dance to "I Eat Cannibals" (Toto Coelo)... Presenting -- The JOHN WAYNE/ "GREEN BERETS" Lunch... Gravitas Ventures "THE BILL MURRAY EXPERIENCE"-- i... NUTCRACKER, THE MOTION PICTURE -- DVD Review by Po... John Wayne: The Crooning Cowpoke "EXTRAORDINARY MISSION" From the Writer of "The De... "MOLLY'S GAME" True High- Stakes Poker Thriller In ... Surge of Power: Revenge of the Sequel Hits Theaters "SHOCK WAVE" With Andy Lau Cinema's First Out Gay Superhero Faces His Greatest -- China’s #1 Box Offic... Challenge Hollywood Legends Face Off in a New Star-Packed Adventure Modern Vehicle Blooper in Nationwide Rollout Begins in January 2018 "SHANE" (1953) "ANNIHILATION" Sci-Fi "A must-see for fans of the TV Avengers, the Fantastic Four Thriller With Natalie and the Hulk" -- Buzzfeed Portma.. -
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Mark of the Devil: On a Classic Exploitation Film Conference Report by Thomas Hödl and Joachim Schätz 170 The landmark film Mark of the Devil While Deniz Bayrak and Sarah Reininghaus premiered in Europe in 1970. Although the smartly analysed the topological system of the film boasts an incredible cast, including two movies, Marcus Stiglegger set them in Herbert Lom, Reggie Nalder, Herbert Fux and relation to his concept of transgressive cinema a young Udo Kier, and was successful enough, as inspired by Georges Bataille. Julian Petley both in Europe and the U.S., to reach cult succinctly traced the history of Mark of the status and spawn a sequel, it faced controversy Devil’s censoring in Great Britain. Michael and censorship from the very start. Critics Fuchs engaged with the question of panned it for its excessive violence and authorship, which is an important point, given exploitative nature. In 2014, genre film scholar that the first film has two directors, one of Andreas Ehrenreich proved that the film was whom – Austrian actor and 1950s heartthrob more than just a meaningless series of Adrian Hoven – also acted as the film’s depictions of sex and torture and furthered the producer. (Mark of the Devil’s other officially consideration of the film from other points of credited director Michael Armstrong, a view. With the support of the Department of relative newcomer from the U.K., who had Theatre, Film and Media Studies of the previously made the 1969 proto-slasher The University of Vienna, he organised a three-day Haunted House of Horror, would go on to conference in Tamsweg, Austria, a town in the write seventies sex comedies such as Lungau region, which provided much of the blockbuster-director-to-be Martin Campbell’s gorgeous scenery for both Mark of the Devil The Sex Thief and Eskimo Nell.) Sarah Held’s and Mark of the Devil Part II. -
Spaghetti Cinema University of Bedfordshire, 9-10 May 2014
Spaghetti Cinema University of Bedfordshire, 9-10 May 2014 What is Spaghetti Cinema and Why Does it Work? Devised by Dr. Austin Fisher and first held in 2013, Spaghetti Cinema is an academic conference and film festival that celebrates the history and contemporary reach of Italian genre cinema. The first event focused on Spaghetti Westerns and the next was a two-day event dedicated to the giallo and Italian horror cinema. Both these events took place in association with the University of Bedfordshire. The balance of academic rigour and cinematic appreciation is a key element of the Spaghetti Cinema approach. The 2014 event featured screenings of Dario Argento’s Phenomena (1985), Lucio Fulci’s ...E tu vivrai nel terrore! L'aldilà/The Beyond (1981) and Ruggero Deodato’s Ultimo mondo cannibale/Last Cannibal World (1977). These screenings were set in context by the appearance of figures involved in varying degrees in the production of the films including Deodato himself alongside his Last Cannibal World actress Me Me Lai. The event also welcomed Luigi Cozzi who worked on the special effects for Phenomena and star of The Beyond, Catriona MacColl. Spaghetti Cinema represents an evolution in both academic conference and film festival terms. Fujiwara claims that festivals have seen a ‘calcification of taste’ (2013: 218), while Cousins argues that ‘so many of them present retrospectives of, or tributes to, filmmakers, genres, or themes that are already well established, part of the canon’ (2013a: 169). Cousins also states that ‘[they should] look at the past of film culture in the broadest geographical terms’ (2013a: 169). -
Dissertation After Crash 4-7-10
Roma De Profundis: Post-Economic Miracle Rome and the Films of Dario Argento (1970-1982) By Michael Loren Siegel B.A., University of Michigan, 2000 M.A., Brown University, 2003 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of Modern Culture and Media at Brown University Providence, Rhode Island May 2010 © Copyright 2010 by Michael Loren Siegel This dissertation by Michael Loren Siegel is accepted in its present form by the Department of Modern Culture and Media as satisfying the dissertation requirement for the degree of Doctor of Philosophy Date___________ ___________________________________ Professor Mary Ann Doane, Advisor Recommended to the Graduate Council Date___________ ___________________________________ Professor Philip Rosen, Reader Date___________ ___________________________________ Professor Massimo Riva, Reader Approved by the Graduate Council Date___________ ___________________________________ Professor Sheila Bonde, Dean of the Graduate School iii VITA Michael Loren Siegel was born on July 31, 1978 in Pittsburgh, Pennsylvania. He earned his B.A. in Film and Video Studies at the University of Michigan in Ann Arbor, Michigan in 2000, and his M.A. in Modern Culture and Media at Brown University in Providence, Rhode Island in 2003. His work on Italian cinema, television, urbanity, and visual culture has been published in the anthologies Cinematic Rome (ed. Richard Wrigley) and The Place of the Moving Image (eds. John David Rhodes and Elena Gorfinkel), and is forthcoming in A Companion to Italian Cinema (ed. Peter Brunette) and the British Film Institute’s centenary collection on Michelangelo Antonioni (ed. John David Rhodes). ! iv ACKNOWLEDGEMENTS Writing a dissertation can be an intensely isolating experience. -
From Voodoo to Viruses: the Evolution of the Zombie in Twentieth Century Popular Culture
From Voodoo to Viruses: The Evolution of the Zombie in Twentieth Century Popular Culture By Margaret Twohy Adviser: Dr. Bernice Murphy A thesis submitted in partial fulfilment of the Degree of Master’s of Philosophy in Popular Literature Trinity College Dublin Dublin, Ireland October 2008 2 Abstract The purpose of this thesis is to explore the evolutionary path the zombie has followed in 20th Century popular culture. Additionally, this thesis will examine the defining characteristics of the zombie as they have changed through its history. Over the course of the last century and edging into the 21st Century, the zombie has grown in popularity in film, videogames, and more recently in novels. The zombie genre has become a self-inspiring force in pop culture media today. Films inspired a number of videogames, which in turn, supplied the film industry with a resurgence of inspirations and ideas. Combined, these media have brought the zombie to a position of greater prominence in popular literature. Additionally, within the growing zombie culture today there is an over-arcing viral theme associated with the zombie. In many films, games, and novels there is a viral cause for a zombie outbreak. Meanwhile, the growing popularity of zombies and its widening reach throughout popular culture makes the genre somewhat viral-like as well. Filmmakers, authors and game designers are all gathering ideas from one another causing the some amount of self- cannibalisation within the genre. 3 Table of Contents Introduction 4 Chapter One 7 Evolution of the Dead Chapter Two 21 Contaminants, Viruses, and Possessions—Oh my! Chapter Three 34 Dawn of the (Digital) Dead Chapter Four 45 Rise of the Literary Zombie Conclusion 58 Bibliography 61 4 Introduction There are perhaps few, if any fictional monsters that can rival the versatility of the humble zombie (or zombi)1. -
Bodies of Desire and Bodies in Distress
Bodies of Desire and Bodies in Distress Bodies of Desire and Bodies in Distress: The Golden Age of Italian Cult Cinema 1970-1985 By Xavier Mendik Bodies of Desire and Bodies in Distress: The Golden Age of Italian Cult Cinema 1970-1985, By Xavier Mendik This book first published 2015 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2015 by Xavier Mendik All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-5954-0, ISBN (13): 978-1-4438-5954-7 This book is dedicated with much love to Caroline and Zena CONTENTS Acknowledgements .................................................................................... ix Foreword ................................................................................................... xii Enzo G. Castellari Introduction ................................................................................................ 1 Bodies of Desire and Bodies of Distress beyond the ‘Argento Effect’ Chapter One .............................................................................................. 21 “There is Something Wrong with that Scene”: The Return of the Repressed in 1970s Giallo Cinema Chapter Two ............................................................................................ -
Studying Film with André Bazin
BLANDINE JORET FILM THEORY IN MEDIA HISTORY STUDYING FILM WITH ANDRÉ BAZIN BLANDINE JORET STUDYING FILM WITH ANDRÉ BAZIN ANDRÉ WITH FILM STUDYING Studying Film with André Bazin Film Theory in Media History Film Theory in Media History explores the epistemological and theoretical foundations of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory. Adopting a historical perspective, but with a firm eye to the further development of the field, the series provides a platform for ground-breaking new research into film theory and media history and features high-profile editorial projects that offer resources for teaching and scholarship. Combining the book form with open access online publishing the series reaches the broadest possible audience of scholars, students, and other readers with a passion for film and theory. Series editors: Prof. Dr. Vinzenz Hediger (Goethe University Frankfurt, Germany), Weihong Bao (University of California, Berkeley, United States), Dr. Trond Lundemo (Stockholm University, Sweden). Editorial Board Members: Dudley Andrew, Yale University, United States Raymond Bellour, CNRS Paris, France Chris Berry, Goldsmiths, University of London, United Kingdom Francesco Casetti, Yale University, United States Thomas Elsaesser, University of Amsterdam, the Netherlands Jane Gaines, Columbia University, United States Andre Gaudreault, University of Montreal, Canada Gertrud Koch, Free University of Berlin, Germany John MacKay, Yale University, United States Markus Nornes, University of Michigan, United States Patricia Pisters, University of Amsterdam, the Netherlands Leonardo Quaresima, University of Udine, Italy David Rodowick, University of Chicago, United States Philip Rosen, Brown University, United States Petr Szczepanik, Masaryk University Brno, Czech Republic Brian Winston, Lincoln University, United Kingdom Film Theory in Media History is published in cooperation with the Permanent Seminar for the History of Film Theories. -
Now in It's 30 Year 25Th
Now in it’s 30th Year 25th - 27th October 2019 Welcome to the third progress report for the thirtieth festival. We are pleased add another two guests have confirmed that can attend to complete the line-up for the festival. It just keeps getting better. How are you going to fit it all in? Writer/Director/Special Dez Skinn, Effects and Make-up Publisher— back by Design supremo popular request to Sergio Stivaletti finish the stories he started last year. Help us celebrate the past thirty years by sharing your memories of festivals past. Send us your photographs and tell us what you remember. We hope to include some of these in the festival programme book. Guests The following guests have confirmed that they can attend (subject to work commitments). Lawrence Deirdre Giannetto Janina Gordon Clark Costello De Rossi Faye Dana Pauline Norman J. Gillespie Peart Warren 1 A message from the 3 Festival’s Chairman 2010 As we approach Festival number 30 - one of the best 2011 things we can look forward to is getting to see a lot of faces who have been around for at least 20 or more years, who, like me, are beginning to show that it isn’t just films that age. 2012 It has been a hard task to find new guests but we managed it again this year – in fact we have some real quality guests in both the acting profession and the 2013 behind-the-screen work. When I, Tony, Harry and Dave Trengove started this event we were thinking it might continue for about 5 2014 years - not 30! So I would like to say that the success of the event, has been firmly in the hands of those mentioned and several other persons (some unfortunately no longer with us). -
The University of Bradford Institutional Repository
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Bradford Scholars The University of Bradford Institutional Repository http://bradscholars.brad.ac.uk This work is made available online in accordance with publisher policies. Please refer to the repository record for this item and our Policy Document available from the repository home page for further information. To see the final version of this work please visit the publisher’s website. Access to the published online version may require a subscription. Citation: Goodall M (2016) Spaghetti savages: cinematic perversions of 'Django Kill'. In: Broughton L (Ed.) Critical perspectives on the Western: from A Fistful of Dollars to Django Unchained. Maryland: Rowman & Littlefield. 199-212. Copyright statement: © 2016. Rowman & Littlefield. All rights reserved. Reproduced in accordance with the publisher's self-archiving policy. ‘Spaghetti Savages’: the cinematic perversions of Django Kill Mark Goodall Introduction: the ‘Savage Western’ …The world of the Italian western is that of an insecure environment of grotesqueness, abounding in almost surrealistic dimensions, in which violence reigns1 The truth in stories always generates fear2 It is widely accepted that the ‘Spaghetti Western’, one of the most vivid genres in cinematic history, began with Sergio Leone’s 1964 film Per un pugno di dollari/A Fistful of Dollars. Although A Fistful of Dollars was not the first Italian Western per se, it was the first to present a set of individual and distinctive traits for which Latino versions of the myths of the West would subsequently become known. In short, Leone’s much imitated film served to introduce a sense of ‘separate generic identity’3 to the Italian Western The blank, amoral character of ‘The Man With No Name’, played by the American television actor Clint Eastwood, was something of a surprise initially but his cool manner under extreme provocation from all sides was an engaging and powerful attribute. -
Numéro 10 – Novembre 2013
1 Couverture Mononc’ Mario d’après une photo de Charles Mohapel avec Denis Rouge dans le rôle de Chtulhu et Mario dans le rôle de Santo ! 2- Sommaire et Nouvelle insolite de Matante 3- Nouvelles Insolites - Matante Valérie 3- Ce qu’ils ont dit… 4- Rions avec Lovecraft 9- Films de Zombies – Mario Giguère 26- Les Parents – Matante Valérie 27- Angélique – Matante Valérie 28- Rions avec The Walking Dead 29- Les Nanardises d’Oncle Mario 31- Nouvelle Insolite – Alain Jetté 32- Soirée au Zénob 34- Photos d’Halloween de Matante Valérie 37- Protocole Zombie 38- Pour les amateurs de Dr Who 39- Lectures d’Oncle Mario Prochaine date de tombée 20 Janvier 2013 Fanzine électronique des membres de Québec SF. Le contenu et les droits respectifs sont redevables aux auteurs. Numéro 10 – Novembre 2013 2 Ce qu’ils ont dit du numéro précédent Encore un excellent numéro que j'ai feuilleté mais que je compte lire au complet dès que possible! Ah! Les films de ma jeunesse, les glorieuses années 60... Et, Jean, ton image est tellement intrigante qu'on s'en va louer PACIFIC RIM drelà. Merci à Mario pour ce neuvième Opus. En passant, moi-aussi j'ai bien aimé Le Mausolée des Matins Blêmes. Mario, as-tu pensé à en envoyer une copie à l'auteur? Ça fait toujours du bien de voir que son livre est apprécié... Bonne journée prudente, XXX Matante Valérie « Merci pour ce commentaire de lecture encourageant. Voilà qui donne une bonne raison pour écrire de futurs projets dans un contexte où - tu le sais sûrement autant que moi - les appréciations des lecteurs constituent une facette fondamentale de notre motivation. -
UNIVERSITA' CATTOLICA DEL SACRO CUORE MILANO Dottorato
UNIVERSITA’ CATTOLICA DEL SACRO CUORE MILANO Dottorato di ricerca in Studi umanistici. Tradizione e contemporaneità ciclo XXXI S.S.D: L- ART/06 LA FIGURA FEMMINILE NEL FANTASTICO ITALIANO Tesi di Dottorato di : Guido Carlo Colletti Matricola: 4614694 Anno Accademico 2017 / 2018 Dottorato di ricerca in Studi Umanistici. Tradizione e contemporaneità Ciclo: XXXI S.S.D: L-ART/06 La figura femminile nel fantastico italiano Coordinatore: Ch.ma Prof.ssa Cinzia Susanna Bearzot Tesi di dottorato di: Guido Carlo Colletti Matricola: 4614694 Anno accademico 2017/2018 INDICE Introduzione 3 1 Definizione del campo e della metodologia di ricerca 7 1.1 Il sistema dei generi hollywoodiano come premessa 7 1.2 Origini del fantastico italiano. Definizioni e caratteristiche 10 1.3 Corpus della ricerca: periodizzazione e indagine quantitativa 19 1.3.1 Film a prevalenza femminile 23 1.3.2 Film corali 25 1.3.3 Film con protagonisti primari femminili 26 2 La rappresentazione femminile nel cinema horror contemporaneo 28 2.1 La corporeità femminile mediatizzata: choc, eccesso, frammentazione 29 2.2 Il corpo guardato: piacere e anti-piacere femminile. Differenti interpretazioni 36 3. L’ evoluzione del fantastico italiano 50 3.1 Il carattere internazionalista del cinema italiano 51 3.2 La crisi del cinema fantastico: gli anni Settanta 56 3.3 La crisi del cinema fantastico: gli anni Ottanta 61 4.La figura femminile come corpo attore 68 4.1 Modelli estetici femminili nel fantastico italiano: bellezza, stardom 69 4.2 Lo stile della rappresentazione: fascinazione e orrido 98 4.2.1 Volto e sguardo 103 4.2.2 Bocca e altri parti del corpo 113 4.3 Lo stile della rappresentazione: abiezione e degradazione del corpo 117 5. -
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CINERGIE il cinema e le altre arti 7 SPECIALE Mare Monstrum Il riverbero di Jaws nei sequel illegittimi: mockbuster, imitazioni, ripoff (e documentari) di produzione italiana (1976-1995) E sapete chi era quel mostro marino? Quel mostro marino era né più né meno quel gigantesco Pesce-cane, ricordato più volte in questa storia, e che per le sue stragi e per la sua insaziabile voracità, veniva soprannominato “l’Attila dei pesci e dei pescatori”. [Carlo Collodi, Le avventure di Pinocchio. Storia di un burattino] Nella realizzazione del “Monstro” di Pinocchio (Hamilton Luske e Ben Sharpsteen, 1940), la Disney è forse tra i primi produttori hollywoodiani a trasferire nel cinema le potenzialità simboliche del leviatano biblico. Evocando Moby Dick, gli sceneggiatori sostituiscono il “Pesce-cane” di Collodi con un grande cetaceo che aspira e inghiotte tutto ciò che incontra. Esistono molte interpretazioni che tentano di decrittare questa scelta, più o meno votate alla verisimiglianza, ma non c’è una spiegazione uffi ciale. Forse è perché si sa che dalle fauci dello squalo non si torna indietro che a brandelli – anche se si è burattini di legno – e un conto è narrarlo per mezzo della scrittura, altro è tradurlo per immagini. Al contrario, la dentuta cavità orale del pescecane sarà esplicitata, sin dal titolo originale, da Spielberg trentacinque anni più tardi. Jaws arriva nelle sale italiane in occasione delle festività natalizie del 1975. Uscito negli Stati Uniti nel giugno dello stesso anno, conquista i mercati europei sull’onda del consenso ottenuto in patria. Se Pinocchio è un grande successo letterario italiano rivisitato dal cinema statunitense, viceversa, la nostra industria cinematografi ca saprà sfruttare i successi hollywoodiani replicandoli o clonandoli per rispondere alle esigenze di un pubblico altrettanto vorace, non solo italiano.