Nightmare Magazine Issue 06
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Download Our Last Catalog for 2018/19
1 MIDNIGHT MARQUEE 2018/19 CATALOG The Perfect GIFTS for Your Favorite Movie Buff! Vol. 1 NEW COVER WE KNOW MOVIES! Midnight Marquee Press • 9721 Britinay Lane, Baltimore, MD 21234 2 A Letter from Gary and Sue Svehla of Midnight Marquee Press We would like to apologize to our many long time customers as well as to our many new ones for the lateness of this catalog and our slowness in get- ting your orders out. It’s been a rough several years as Sue has been facing medical challenges, but we have finally found a diagnosis and she is on a healing path. Of course we will try to get your orders out quickly, but we’re getting old and slow (not to mention forgetful) so— if you need your books quickly, please order them from AMAZON.com or OLDIES.com. Most of our books are now being converted to e-books by Bear Manor Media, so you can order those from Amazon.com. We thank you for your patience, your business and your friendship through the years. Gary and Sue Svehla Table of Contents 3 New Titles from MMP Payment: We accept 5 Brit Horrors all major credit cards, 12 Italian Horror checks, money orders 15 Biographies and Autobios and PayPal. 19 Musical Bios 20 MidMar’s Actors Series Shipping: We try to 21 Histories of Horror Films ship within 7 work- ing days, but it’s just the two of us and we’re 25 Histories of Sci-Fi Films getting old and slow. 26 Hooray for Hollywood— other genres If you need your order fast, PLEASE 28 Exploitation Horrors order from Amazon.com or Oldies.com Most books will arrive from Createspace— 29 Forgotten Horrors & DVDs, mags, bookplates, etc. -
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.. -
"They're Us": Representations of Women in George Romero's 'Living
"They’re Us": Representations of Women in George Romero’s ‘Living Dead’ Series Stephen Harper In the opening scene of George Romero’s 1978 film Martin, a teenage sexual psychopath kills and drinks the blood of a young woman in her sleeper train compartment during a struggle that is protracted, messy and far from one-sided. Although women are often victims in Romero’s films, they are by no means passive ones. Indeed, Romero is seldom in danger of objectivising or pornographising his female characters; on the contrary, Romero’s women are typically resourceful and autonomous. This paper analyses some of Romero’s representations of women, with particular reference to the four ‘living dead’ films which Romero made over a period of more than thirty years. These are Night of the Living Dead (1968), Dawn of the Dead (1979), Day of the Dead (1985) and the 1990 remake of Night. [1] All of these films feature a group of human survivors in an America overrun by zombies. The survivors of Night hole up in a house; in Dawn the sanctuary is a shopping mall; while in Day, the darkest of the films, it is an underground military installation. Unsurprisingly, these savage and apocalyptic zombie films contain some of Romero’s most striking representations of active and even aggressive women. This in itself hints at a feminist approach. While Hollywood films typically eroticize and naturalise male violence and emphasise female passivity, Romero uses his zombies to undermine such assumptions. Romero’s female zombies are not only undead but virtually ungendered; for instance, they are responsible for as many acts of violence as their male counterparts. -
Lucky Sevens Nov 2005.PUB
The Lucky Sevens The Official Newsletter of the 7th Brigade Starfleet Marine Corps A Division of STARFLEET The International Star Trek Fan Association Volume 3 Issue 6 Page 1 November 2005 The Lucky Sevens The Official Newsletter of the 7th Brigade, SFMC In This Issue: 7th Brigade Command Staff • Brigade Command Staff Reports 7th Brigade OIC BGen Larry Niegut • Brigade Support Staff Reports [email protected] • Battalion OIC Reports • Awards Issued 7th Brigade DOIC Major Rey Cordero • Brigade Activities during the past [email protected] 60 days • Doohan’s Ashes to be sent into 7th Brigade Aide de Camp Brigadier James Pepe Space • Air Force testing new transparent armor 7th Brigade Sergeant Major Vacant • Conventions of the Seventh Bri- gade 7th Brigade Support Staff 7th Brigade Communications Director Brigadier Joseph C Dorffner Jr [email protected] 7th Brigade Electronic Services Officer Colonel Sean Neimeyer [email protected] Assistant Editor - “The Lucky Sevens” Lt Colonel Keith J Keppley [email protected] The Lucky Sevens is published electronically six 7th Brigade Quartermaster (6) times per calendar year, during odd-numbered BGen Martin Lessem months. All submissions regarding the 7th Brigade are [email protected] welcome, and may be submitted to the 7th Brigade Com- munications Director electronically at [email protected] (please put “Newsletter Sub- mission” in the subject line of your e-mail). Deadlines are normally the 20th of even-numbered months. Opinion articles do not necessarily represent the Battalion OICs views of The Lucky Sevens or the 7th Brigade Com- OIC 1st Battalion (DE) OIC 2nd Battalion (DC) mand Staff. -
Newsletter 15/07 DIGITAL EDITION Nr
ISSN 1610-2606 ISSN 1610-2606 newsletter 15/07 DIGITAL EDITION Nr. 212 - September 2007 Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 3 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 15/07 (Nr. 212) September 2007 editorial Hallo Laserdisc- und DVD-Fans, schen und japanischen DVDs Aus- Nach den in diesem Jahr bereits liebe Filmfreunde! schau halten, dann dürfen Sie sich absolvierten Filmfestivals Es gibt Tage, da wünscht man sich, schon auf die Ausgaben 213 und ”Widescreen Weekend” (Bradford), mit mindestens fünf Armen und 214 freuen. Diese werden wir so ”Bollywood and Beyond” (Stutt- mehr als nur zwei Hirnhälften ge- bald wie möglich publizieren. Lei- gart) und ”Fantasy Filmfest” (Stutt- boren zu sein. Denn das würde die der erfordert das Einpflegen neuer gart) steht am ersten Oktober- tägliche Arbeit sicherlich wesent- Titel in unsere Datenbank gerade wochenende das vierte Highlight lich einfacher machen. Als enthu- bei deutschen DVDs sehr viel mehr am Festivalhimmel an. Nunmehr siastischer Filmfanatiker vermutet Zeit als bei Übersee-Releases. Und bereits zum dritten Mal lädt die man natürlich schon lange, dass Sie können sich kaum vorstellen, Schauburg in Karlsruhe zum irgendwo auf der Welt in einem was sich seit Beginn unserer Som- ”Todd-AO Filmfestival” in die ba- kleinen, total unauffälligen Labor merpause alles angesammelt hat! dische Hauptstadt ein. Das diesjäh- inmitten einer Wüstenlandschaft Man merkt deutlich, dass wir uns rige Programm wurde gerade eben bereits mit genmanipulierten Men- bereits auf das Herbst- und Winter- offiziell verkündet und das wollen schen experimentiert wird, die ge- geschäft zubewegen. -
"Those Things" and "You People" : Issues Of
d “THOSE THINGS” AND “YOU PEOPLE” Issues of Racism in Zombie Cinema Kyle Allkins Judith Halberstam claims that “it would be very difficult in a horror film to show and punish racism simultaneously,” but this essay contends that zombie films show racism through their representation of African American characters and the ways zombies function as racial “others” who exemplify the nonnormative and inhuman (Skin Shows 4). Zombie films also link the colonized racial “other” to the colonized white female in interesting ways. The extermination of zombies in cinema represents racism, racial profiling, racial violence, and racial selfhatred and links racism with sexism. At times, zombie cin ema may also punish the culturally normative “we or us” for seeking violence against the racialized or feminized “them.” Cinematic zombies evoke fear in part because zombies can be anyone. Spouse, sibling, coworker, friend, priest, cop, Mayor, President, girl next door—anyone in a zombie film can be altered and “turned” in no time at all. Those that haven’t been turned are slowly being outnumbered, becoming the mi nority, becoming nonnormative themselves. Audiences have eagerly consumed films about zombies since their first appear ance in White Zombie, a 1932 horror film starring Bela Legosi. 112 Subsequent zombie films such as Jacques Tourneur’s 1943 I Walked with A Zombie, George A. Romero’s 1968 cult classic Night of the Living Dead, and even Wes Craven’s 1988 The Serpent and the Rainbow, continued to shape the genre by adding unique elements. The website http://en.wikipedia.org/wiki/ List_of_zombie_films lists the dozens of zombie films made in America and abroad over the last eight decades and attests to the genre’s continuing popularity. -
Taylor Doctoralthesis Complete
21st Century Zombies: New Media, Cinema, and Performance By Joanne Marie Taylor A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Performance Studies and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Peter Glazer, Chair Professor Brandi Wilkins Catanese Professor Kristen Whissel Fall 2011 21st Century Zombies: New Media, Cinema, and Performance © 2011 by Joanne Marie Taylor Abstract 21st Century Zombies: New Media, Cinema, and Performance by Joanne Marie Taylor Doctor of Philosophy in Performance Studies and a Designated Emphasis in Film Studies University of California, Berkeley Professor Peter Glazer, Chair This project began with a desire to define and articulate what I have termed cinematic performance, which itself emerged from an examination of how liveness, as a privileged performance studies concept, functions in the 21st century. Given the relative youth of the discipline, performance studies has remained steadfast in delimiting its objects as those that are live—shared air performance—and not bound by textuality; only recently has the discipline considered the mediated, but still solely within the circumscription of shared air performance. The cinema, as cultural object, permeates our lives—it is pervasive and ubiquitous—it sets the bar for quality acting, and shapes our expectations and ideologies. The cinema, and the cinematic text, is a complex performance whose individual components combine to produce a sum greater than the total of its parts. The cinema itself is a performance—not just the acting—participating in a cultural dialogue, continually reshaping and challenging notions of liveness, made more urgent with the ever-increasing use of digital technologies that seem to further segregate what is generally considered real performance from the final, constructed cinematic text. -
Romero Rétrospective 13 – 30 Décembre
GEORGE A. ROMERO RÉTROSPECTIVE 13 – 30 DÉCEMBRE Zombie - Dawn of the dead 28 TERREURS EXPÉRIMENTALES Révélé en 1968 par un film d’horreur à petit budget, La Nuit des morts-vivants, qui bouleversa les règles du genre, George A. Romero est l’auteur d’une œuvre très personnelle, essentielle dans l’histoire du cinéma américain moderne. Avec ses figures de zombies, déclinées dans plusieurs titres tout au long de sa carrière et devenues des silhouettes familières de la pop culture contem- poraine, il a énoncé une critique politique radicale de la société américaine, de son goût pour la violence et de son aliénation. GEORGE A. ROMERO Il a, on ne le sait désormais que trop, inventé l’une des grandes figures cinéma- tographiques de la terreur contemporaine, une figure qui aura depuis quarante ans innervé et contaminé la culture industrielle dans ses diverses manifestations (séries télévisées, jeux vidéo, romans populaires, etc.). Le zombie du cinéma de George A. Romero représente la négation de toute une vision romantique de l’inhumain et de la monstruosité qui a longtemps marqué le cinéma d’épou- vante. On le sait, tout a commencé en 1968 lorsqu’une poignée d’étudiants de Pittsburgh décide de s’attacher à la réalisation d’un petit film d’horreur en noir et blanc. La Nuit des morts-vivants jouira longtemps d’un statut ambigu. Le film bouscule, en tout cas, les conventions avec son postulat : pour une raison mystérieuse, les morts se remettent à marcher et deviennent des créatures PROGRAMMATION anthropophages quasi invulnérables, propageant la maladie qui les a ressuscités. -
CULT CÍNEMA: a CRITICAL SYMPOSIUM Featuring Joe Bob Briggs, J
CULT CÍNEMA: A CRITICAL SYMPOSIUM Featuring Joe Bob Briggs, J. Hoberman, Damien Love, Tim Lucas, Danny Peary, Jeffrey Sconce and Peter Stanfield As the marginal goes mainstream^ critical connoisseurs debate the frenzied life, near death, and rejuvenation of cult cinema Oit of us know someone who can't get between the cttit ftlm and the marketplace. View- through a day without qiiotiitg from ing the phenomenon of cult film through the lens Joe Bob Briggs M Twin'Peaks: Fire Walk With Me, of the fan elicits questions about what distinguish- 1) Ihe cull film is taken from a pool of Casablanca, Dracula or some other coiiiptihively es cult interest from the more getierat category of movies your mama told you not to watch. So worshipped movie. Other people tire of hearitig cinephilia; differences between the opportunities you start with rebel filmmakers, and then them intone. "Eeelectrkity!," "Routtd up the usual for cult fans now atui cult fans Ixukin tlie day ofpre- within that pool iuspects, " or "I rtcver drink... witte, " but the}' per- home-viewing technologies; and the motives and cul- you have filmmak- severate and we screen them out. At what point, tural roles of the cult fan. ers rebelling against however, does this hid of behavior cease to seem Viewing the cult film in terms of its definition the rebels. A small cpiaintty quasipathotogical and begirt to call to us as an object, our contributors have confronted handful of those are as a sipiiftctmt spectacle? Is it a matter of the questions about cult esthetics: whether they are so quirky and/or ferocity of their ardor? Or their numbers? WoitM distinctly different from the esthetics of main- fetishistlc that they },000 people attending a Star Trek convention stream film; the independence of cult creators; attract a loyal fol- wearing Mr. -
Cons & Confusion
Cons & Confusion The almost accurate convention listing of the B.T.C.! We try to list every WHO event, and any SF event near Buffalo. updated: April 18, 2019 to add an SF/DW/Trek/Anime/etc. event; send information to: [email protected] 2019 DATE local EVENT NAME WHERE TYPE WEBSITE LINK APRIL 19-21 T.O. INTERNATIONA FAN FESTIVAL Metro Conv. Ctr all things Japanese https://toronto.ifanfes.com/ Noriko Shitaya, Noriaki Sugiyama, Kana Ueda, Ayako Kawasumi APRIL 19-20 UT FANX SALT LAKE COMIC CONV. Salt Palace, Salt Lake City, UT local media/comics show https://fanxsaltlake.com/ David Bradley, Bille Piper, Warwick Davis, Pom Klemantioff, Casey Cott, Adelaide Kane, Val Kilmer, Tony Todd, etc APRIL 19-21 Bos ANIME BOSTON 2019 Hynes Conv Ctr & Sheraton amine, manga & gaming http://animeboston.com/ Kenji Kodama, Naohiro Ogata, Yoichi Kato, Yoko Shimomura, Billy Kametz, Ellyn Stern, Kara Edwards, J Y Bosch, Leah Clark, Lisa Ortiz, Tara Platt, Tara Sands, APRIL 19-21 Chic WALKER STALKER-CHICAGO Stephens Conv. Ctr. mostly "Walking Dead" https://walkerstalkercon.com/chicago/ Chandler Riggs, Tom Payne, Michael Rooker, Dyland McDermott, Donal Logue, Brandon Routh, Henry Thomas, Tom Payne, Harp Twins, etc APRIL 26-28 ONT SHOCK STOCK 2019 Ramada Inn, London, Ont., Canada horror film event http://shock-stock.com/ Joe Bob Briggs, Kleio Valentien, Sleazy P Martin, David Howard Thornton APRIL 26-28 D.C. AWESOME CON Washington (DC) Conv Ctr local comic/media show http://awesome-con.com/ MATT SMITH, J Barrowman, G McFadden, Marina Sirtis, Brent Spiner, Tim -
Land of the Dead
Journal of Religion & Film Volume 9 Issue 2 October 2005 Article 10 October 2005 Land of the Dead Mario DeGiglio-Bellemare University of Toronto, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation DeGiglio-Bellemare, Mario (2005) "Land of the Dead," Journal of Religion & Film: Vol. 9 : Iss. 2 , Article 10. Available at: https://digitalcommons.unomaha.edu/jrf/vol9/iss2/10 This Film Review is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Land of the Dead Abstract This is a review of Land of the Dead (2005). This film er view is available in Journal of Religion & Film: https://digitalcommons.unomaha.edu/jrf/vol9/iss2/10 DeGiglio-Bellemare: Land of the Dead George A. Romero is well known to horror genre enthusiasts as the man who invented the contemporary cinematic zombie myth (divorced from its Haitian roots). The cannibalistic urge of the zombie, its slow-moving pace, and the methods of dispensing with one of them by putting a bullet through its head, or by removing its head altogether, were all invented by Romero when he made the genre-bending cult favorite Night of the Living Dead. However, Romero is also known for his very astute and critical appraisals of the political landscape of the U.S.A. In Romero's world, the zombie is much more than a living dead creature seeking warm intestines to snack on; the zombie is a force for social transformation. -
Zombies: New Media, Cinema, and Performance
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title 21st Century Zombies: New Media, Cinema, and Performance Permalink https://escholarship.org/uc/item/9hq1z1t7 Author Taylor, Joanne Marie Publication Date 2011 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California 21st Century Zombies: New Media, Cinema, and Performance By Joanne Marie Taylor A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Performance Studies and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Peter Glazer, Chair Professor Brandi Wilkins Catanese Professor Kristen Whissel Fall 2011 21st Century Zombies: New Media, Cinema, and Performance © 2011 by Joanne Marie Taylor Abstract 21st Century Zombies: New Media, Cinema, and Performance by Joanne Marie Taylor Doctor of Philosophy in Performance Studies and a Designated Emphasis in Film Studies University of California, Berkeley Professor Peter Glazer, Chair This project began with a desire to define and articulate what I have termed cinematic performance, which itself emerged from an examination of how liveness, as a privileged performance studies concept, functions in the 21st century. Given the relative youth of the discipline, performance studies has remained steadfast in delimiting its objects as those that are live—shared air performance—and not bound by textuality; only recently has the discipline considered the mediated, but still solely within the circumscription of shared air performance. The cinema, as cultural object, permeates our lives—it is pervasive and ubiquitous—it sets the bar for quality acting, and shapes our expectations and ideologies.