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Horror and Society
Fiveson Horror & Society Heather Fiveson COM 550 A: Media and Culture Professor Nava Dushi Lynn University 1 Fiveson Movies are the mirrors of the Mirror Stage, a psychoanalytic theory created by Jacques Lacan. He asserts that infants can recognize themselves in a mirror or other symbolic contrap- tions. They can understand that they are separate from other beings and objects; this understand- ing of “other” creates a desire for what is separate from the viewer (Todd, 2004, p. 20). Modern society is ruled by capitalism; money becomes more important than one’s self-interest. Greed rules everything; “what can you do for me?” Society ultimately demands sacrifice from the indi- vidual; sacrifice enjoyment for the greater good, and do what is “right.” Society demands enjoy- ment even as it must adhere to the prohibition, the social laws, and barriers against specific ac- tions and behaviors. These constraints on society put the sacrifices into perspective, creating a desire for what they cannot have in real life (Todd, 2004, p. 30-31). Fantasy, a contrived sce- nario, teaches humans to desire the impossible. Fantasy brings the desire to reality, but it does not fulfill desire; it merely identifies what should be desired (Slavoj, 1991, p. 6). Movies tem- porarily alleviate the sense of loss that the sacrifice of enjoyment causes without endangering society. They allow the individual to visualize the missing enjoyment without destroying the structure of capitalism. However, they do not fulfill the ultimate desire for very long. So if movies are a reflection of society and its desires, then what does a horror movie reflect? Fur- thermore, what does society get out of the consumption of horror movies? Horror movies lure the audience with fantasy while reflecting society’s fears and con- cerns (by extension, the audience’s concerns). -
"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. -
Demonic Decor Email Fears Confirmed Creepy Creatures
October 2013 Largest Illustration nd Society in the Nation! 2 Creepy Creatures A rendition of the scary vampire bat-toad appears on Cindy Strosser’s annual Halloween card. “Living in the country can be treacherous,” she says. Between the bat-toads and the striped zeb-rats, we have to be careful every time we walk out the door.” Demonic Decor Tim Miklos did this as a gift to Doug Bradley, the actor who portrayed Pinhead in the Hellraiser films. Doug just bought a house and lives here in the Pittsburgh area with a friend of Tim’s, and this painting will serve as a housewarming gift for them. “Pinhead” is 24” x 33,” acrylic paint and newspaper on drywall. www.pittsburghillustrators.org This issue: Member News p.2 Announcements p.3 Meeting Recap p.5 Spotlight p.6 My Spot Anni Matsick Behind the Brush p.7 Don’t let the front page scare you off, we’re just up to our usual fun in the annual Horrifying eMail Fears Halloween issue. Members have reported some Confirmed strange goings-on, causing us to investigate. If you’re disturbed by the images suddenly appearing on those Mark Brewer’s tall metal boxes with handles strewn throughout the city, see this portrayal brings to life issue’s Spotlight on page 6 for an explanation (and chance to vote for your the dreaded entity, favorite). Mailer Daemon. A yellow monster floating under the Sixth Street Bridge was captured in photos by members attending PSI’s monthly BOI meeting nearby. The mammoth creature is debunked on page 5. -
ABSTRACT Title of Document: COMMUNICATING FEAR in FILM
ABSTRACT Title of Document: COMMUNICATING FEAR IN FILM MUSIC: A SOCIOPHOBIC ANALYSIS OF ZOMBIE FILM SOUNDTRACKS Pedro Gonzalez-Fernandez Master of Arts, 2014 Directed By: Dr. Patrick Warfield, Musicology The horror film soundtrack is a complex web of narratological, ethnographic, and semiological factors all related to the social tensions intimated by a film. This study examines four major periods in the zombie’s film career—the Voodoo zombie of the 1930s and 1940s, the invasion narratives of the late 1960s, the post-apocalyptic survivalist fantasies of the 1970s and 1980s, and the modern post-9/11 zombie—to track how certain musical sounds and styles are indexed with the content of zombie films. Two main musical threads link the individual films’ characterization of the zombie and the setting: Othering via different types of musical exoticism, and the use of sonic excess to pronounce sociophobic themes. COMMUNICATING FEAR IN FILM MUSIC: A SOCIOPHOBIC ANALYSIS OF ZOMBIE FILM SOUNDTRACKS by Pedro Gonzalez-Fernandez Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Master of Arts 2014 Advisory Committee: Professor Patrick Warfield, Chair Professor Richard King Professor John Lawrence Witzleben ©Copyright by Pedro Gonzalez-Fernandez 2014 Table of Contents TABLE OF CONTENTS II INTRODUCTION AND LITERATURE REVIEW 1 Introduction 1 Why Zombies? 2 Zombie Taxonomy 6 Literature Review 8 Film Music Scholarship 8 Horror Film Music Scholarship -
The Zombie in Popular Culture from "Night of the Living Dead" to "Shaun of the Dead"
Brigham Young University BYU ScholarsArchive Theses and Dissertations 2010-03-17 Ghouls, Hell and Transcendence: The Zombie in Popular Culture from "Night of the Living Dead" to "Shaun of the Dead" Jasie Stokes Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Classics Commons, and the Comparative Literature Commons BYU ScholarsArchive Citation Stokes, Jasie, "Ghouls, Hell and Transcendence: The Zombie in Popular Culture from "Night of the Living Dead" to "Shaun of the Dead"" (2010). Theses and Dissertations. 2103. https://scholarsarchive.byu.edu/etd/2103 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Ghouls, Hell and Transcendence: the Zombie in Popular Culture from Night of the Living Dead to Shaun of the Dead Jasie Stokes A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Carl Sederholm Charlotte Stanford Kerry Soper Department of Humanities, Classics and Comparative Literature Brigham Young University April 2010 Copyright © 2010 Jasie Stokes All Rights Reserved ABSTRACT Ghouls, Hell and Transcendence: the Zombie in Popular Culture from Night of the Living Dead to Shaun of the Dead Jasie Stokes Department of Humanities, Classics and Comparative Literature Master of Arts Considering the amount of media created around the zombie and the sustained interest in its role in our society, we can clearly see that a cultural phenomenon is underway, and it is important for us to question this phenomenon in order to gain some understanding of how and why its appeal has stretched so far. -
Narcocorridos As a Symptomatic Lens for Modern Mexico
UCLA Department of Musicology presents MUSE An Undergraduate Research Journal Vol. 1, No. 2 “Grave-Digging Crate Diggers: Retro “The Narcocorrido as an Ethnographic Fetishism and Fan Engagement with and Anthropological Lens to the War Horror Scores” on Drugs in Mexico” Spencer Slayton Samantha Cabral “Callowness of Youth: Finding Film’s “This Is Our Story: The Fight for Queer Extremity in Thomas Adès’s The Acceptance in Shrek the Musical” Exterminating Angel” Clarina Dimayuga Lori McMahan “Cats: Culturally Significant Cinema” Liv Slaby Spring 2020 Editor-in-Chief J.W. Clark Managing Editor Liv Slaby Review Editor Gabriel Deibel Technical Editors Torrey Bubien Alana Chester Matthew Gilbert Karen Thantrakul Graphic Designer Alexa Baruch Faculty Advisor Dr. Elisabeth Le Guin 1 UCLA Department of Musicology presents MUSE An Undergraduate Research Journal Volume 1, Number 2 Spring 2020 Contents Grave-Digging Crate Diggers: Retro Fetishism and Fan Engagement 2 with Horror Scores Spencer Slayton Callowness of Youth: Finding Film’s Extremity in Thomas Adès’s 10 The Exterminating Angel Lori McMahan The Narcocorrido as an Ethnographic and Anthropological Lens to 18 the War on Drugs in Mexico Samantha Cabral This Is Our Story: The Fight for Queer Acceptance in Shrek the 28 Musical Clarina Dimayuga Cats: Culturally Significant Cinema 38 Liv Slaby Contributors 50 Closing notes 51 2 Grave-Digging Crate Diggers: Retro Fetishism and Fan Engagement with Horror Scores Spencer Slayton he horror genre is in the midst of a renaissance. The slasher craze of the late 70s and early 80s, revitalized in the mid-90s, is once again a popular genre for Treinterpretation by today’s filmmakers and film composers. -
Zombies in Pittsburgh Press Release FINAL
Media Contacts: Brady Smith 412-454-6459 [email protected] Kim Roberts 412-454-6382 [email protected] Walking Dead Meets Living Dead: History Center to Dig into Pittsburgh’s Zombie History –The Smithsonian’s curator of sports and entertainment will explore Pittsburgh’s zombie connections in honor of the 50th anniversary of Romero’s “Night of the Living Dead”– PITTSBURGH, Oct. 11, 2018 – In honor of the 50th anniversary of George A. Romero’s “Night of the Living Dead,” the Senator John Heinz History Center will dig into Pittsburgh’s spine-tingling zombie history at the Walking Dead Meets Living Dead: Zombies in Pittsburgh event on Friday, Oct. 26 from 6-9 p.m. Filmed about 30 miles north of Pittsburgh in Evans City, Romero’s “Night of the Living Dead” premiered on Oct. 1, 1968 at the Fulton Theater in downtown Pittsburgh (today’s Byham Theater). The cult classic spawned a revolution in the horror movie genre. During this haunting program at the “Smithsonian’s home in Pittsburgh,” the Smithsonian’s curator of sports and entertainment Eric Jentsch will explore the gory details of zombies in pop culture and the Smithsonian’s efforts to collect zombie history, including the National Museum of American History’s recent work with AMC’s “The Walking Dead.” Associates of the late Romero will share their experiences working with the “Godfather of Zombies” right here in Western Pa. Ghoulish guests can also enjoy a complimentary zombie-themed cocktail from Wigle Whiskey, create a sinister zombie movie poster, and walk away with a zombie bite courtesy of the Douglas Education Center’s Special Effects Makeup Program. -
Night of the Living Dead” Brings Original Zombie Classic to Cinemas in Time for Halloween
“RiffTrax Live: Night of the Living Dead” Brings Original Zombie Classic to Cinemas in Time for Halloween NCM Fathom Events, RiffTrax and IGN Present Hilarious Commentary on the 1968 Zombie Flick in Select Movie Theaters on Oct. 24 Centennial, Colo. – Sept 3, 2013 – The “RiffTrax Live” cinema series has been racking in the “LOLs” and “ROTFLs” with its celebrated comedic treatment of films since 2009. This fall, the stars of RiffTrax—Michael J. Nelson, Kevin Murphy and Bill Corbett (best known for the groundbreaking “Mystery Science Theater 3000”)—are back for a hilarious never-before- seen take on the George Romero zombie movie “Night of the Living Dead.” Movie theater audiences will witness shambling zombies (and lead actors alike) meeting their end via razor-sharp mockery, as NCM Fathom Events, RiffTrax and IGN present “RiffTrax Live: Night of the Living Dead” on Thursday, Oct. 24, live at 8:00 p.m. ET / 7:00 p.m. CT and tape delayed at 7:00 p.m. MT / 8:00 p.m. PT/HI/AK. Tickets for “RiffTrax Live: Night of the Living Dead” are available at participating theater box offices and online at www.FathomEvents.com. The event will be broadcast to more than 600 select movie theaters across the country through NCM’s exclusive Digital Broadcast Network. For a complete list of theater locations and prices, visit the NCM Fathom Events website (theaters and participants are subject to change). “Halloween is a time to celebrate the simple things: neighbor kids begging at your door, cleaning splattered eggs off your car window, and of course, laughing along with the classic zombie movie that kick-started the genre. -
Voices of the Damned Online
QAnKe [Free read ebook] Voices of the Damned Online [QAnKe.ebook] Voices of the Damned Pdf Free Barbie Wilde ePub | *DOC | audiobook | ebooks | Download PDF #994328 in Books Wilde Barbie 2016-04-01Original language:EnglishPDF # 1 9.02 x .63 x 5.98l, .93 #File Name: 1909640360232 pagesVoices of the Damned | File size: 68.Mb Barbie Wilde : Voices of the Damned before purchasing it in order to gage whether or not it would be worth my time, and all praised Voices of the Damned: 0 of 0 people found the following review helpful. Doesn't just break taboos, but shatters them!By David DubrowTherersquo;s a temptation to treat Barbie Wildersquo;s anthology Voices of the Damned in one of two ways: the first as a horror fan looking to curry favor, or the second as someone looking to prove that hersquo;s not impressed by Wildersquo;s iconic status in the horror genre.I wonrsquo;t do either, because Voices of the Damned deserves better. This is an extraordinary collection that doesnrsquo;t just break taboos, but shatters them and dances with stiletto heels upon the mewling, agonized pieces. Wilde explores a breadth of themes that go beyond the standard tropes of sex and death, of torment and delight, of holiness and profanity, taking us to new, disturbing realms of imagination that we havenrsquo;t seen since Clive Barkerrsquo;s visionary Books of Blood. Her unique blend of dry humor and graphic description will have you smiling in one sentence and holding down your gorge in the next.In her Sister Cilice stories, Sister Cilice, The Cilicium Pandoric, and The Cilicium Rebellion, Wilde takes control of the character she portrayed in Hellraiser, making the female Cenobite her own person with a past, present, and terrible future. -
NIGHT of the LIVING DEAD Credit: Written by Author: GEORGE A
NIGHT OF THE LIVING DEAD Credit: Written by Author: GEORGE A. ROMERO and JOHN A. RUSSO Draft date: Copyright 1968 by George A. Romero and John A. Russo EXT. CEMETERY - DUSK It is an ordinary dusk of normal quiet and shadow. The gray sky contains a soft glow from the recent sun, so that trees and long blades of grass seem to shimmer in the gathering night. There is a rasp of crickets, and the rustle of leaves in an occasional whispering breeze. Transitions are easy and gradual, with relaxed studies of earth, grass and leafy branches on a high-mounded hill. Revelation of cemetery markers does nothing to disrupt the peacefulness of our established mood; when awareness comes, it is almost as though we have known where we were all along. We are in a typical rural cemetery, conceivably adjacent to a small church ... Although the presence of a church is felt rather than confirmed. The stones range from small identifying slates to monuments of careful design…an occasional Franciscan Crucifix, or a carved image of a defending angel. Over a hundred years of death indicated in stones syllabic with their year and the status of the families they represent. Over the other night sounds is added the gravel-rumble of a slow-moving car. A wider shot reveals the car and the mounded cemetery, as the car pulls into the gate and moves down one of the cemetery roads, the car passes in extreme foreground and moves away from the camera. In the breeze of its passing, the dead leaves that clutter the little road swirl and move. -
Night of the Living Dead
FIRST RUN FEATURES PRESENTS a definitive look at niGHt of tHe livinG dead tHe filM tHat spaWned tHe ZoMBie industry “Birth of the Living Dead has the horror community buzzing, and there’s good reason.” - Matt Molgaard, Best Horror Movies “If you’re a fan of zombies in any way, shape, or form, you need to watch this movie – one of the most extensive, informative, and even entertaining looks at Night of the Living Dead. Very highly recommended.” - Brian M. Sammons, Hell Notes “Fascinating, hugely entertaining documentary chronicles the making of the classic horror film while also tracing its lineage, its colossal influence on the zombie sub-genre, and analysis of its cultural import. And kudos to director Rob Kuhns; he’s crafted a spot-on, ingratiating, informative film that should appeal to the died-in-the-wool horror fanatic as well as the interested newbie. This is easily one of my favorites of 2013 so far.” - Dean Galanis, Forces of Geek “Mesmerizing...I finally understand why I was not only scared out of my wits, but was simultaneously In 1968 a young college drop-out named watching a cinematic breakthrough and cultural George A. Romero directed Night of the phenomenon. Birth of the Living Dead is immensely Living Dead, a low budget horror film that watchable and abundantly enlightening, shocked the world, became an icon of the counterculture, and spawned a zombie with one ah-hah moment after another.” industry worth billions of dollars that contin- - Bill Moyers ues to this day. FEATURING INTERVIEWS WITH Birth of the Living Dead shows how Romero GEORGE A. -
Introduction
INTRODUCTION Having picked this book off the shelf, you’re probably asking yourself, “How could there be a neuroscience of zombies?” While yes, zombies do have brains (you have to destroy their brains in order “kill” them, or so the myth goes), we would be hard pressed to make a case that “zombie neuroscience” qualifies as its own field of study. Neuroscience— the study of the brain, particularly its relationship to behavior and cognition—already has its fair share of perhaps silly and fantastical “specialty” subfields; why add to the list? Well, did you know that we neuroscientists have the answer to every thing? Regular readers of the Opinion page of the New York Times or other popular media outlets will already know that neuroscience can explain why you are in love with your iPhone, why lying to your kids about Santa is a neurologically sound form of parenting, and why inducing a coma leads to proof of heaven. You see, by filtering all of human existence through our very muddy lens we can answer all of life’s questions. By our estimates, an fMRI study explaining the meaning of life should be coming out by sometime early 2015 (hint: it involves 42 brain regions). We hate to break it to our colleagues in the fields of philosophy, religion, and physics, but thanks to a few fancy brain imaging machines and a couple of decades of pretty hard think- ing about stuff, we neuroscientists now can understand every- thing, so they’ll probably need to seek employment elsewhere. If neuroscience is the panacea and explanation for everything else, why not the zombie apocalypse? There’s a market for that, right? Verstynen.indb 1 7/24/2014 8:15:00 AM 2 | Introduction Let’s return to the book you are holding in your hands.