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Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs
Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs The thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth. September 2014 Declaration Whilst registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in this thesis are the work of the named candidate and have not been submitted for any other academic award. Word count: 85,810 Abstract Extreme art cinema, has, in recent film scholarship, become an important area of study. Many of the existing practices are motivated by a Franco-centric lens, which ultimately defines transgressive art cinema as a new phenomenon. The thesis argues that a study of extreme art cinema needs to consider filmic production both within and beyond France. It also argues that it requires an historical analysis, and I contest the notion that extreme art cinema is a recent mode of Film production. The study considers extreme art cinema as inhabiting a space between ‘high’ and ‘low’ art forms, noting the slippage between the two often polarised industries. The study has a focus on the paratext, with an analysis of DVD extras including ‘making ofs’ and documentary featurettes, interviews with directors, and cover sleeves. This will be used to examine audience engagement with the artefacts, and the films’ position within the film market. Through a detailed assessment of the visual symbols used throughout the films’ narrative images, the thesis observes the manner in which they engage with the taste structures and pictorial templates of art and exploitation cinema. -
Sunday Morning Grid 12/28/14 Latimes.Com/Tv Times
SUNDAY MORNING GRID 12/28/14 LATIMES.COM/TV TIMES 7 am 7:30 8 am 8:30 9 am 9:30 10 am 10:30 11 am 11:30 12 pm 12:30 2 CBS CBS News Sunday Face the Nation (N) The NFL Today (N) Å Football Chargers at Kansas City Chiefs. (N) Å 4 NBC News (N) Å Meet the Press (N) Å News 1st Look Paid Premier League Goal Zone (N) (TVG) World/Adventure Sports 5 CW News (N) Å In Touch Paid Program 7 ABC News (N) Å This Week News (N) News (N) Outback Explore St. Jude Hospital College 9 KCAL News (N) Joel Osteen Mike Webb Paid Woodlands Paid Program 11 FOX Paid Joel Osteen Fox News Sunday FOX NFL Sunday (N) Football Philadelphia Eagles at New York Giants. (N) Å 13 MyNet Paid Program Black Knight ›› (2001) 18 KSCI Paid Program Church Faith Paid Program 22 KWHY Como Local Jesucristo Local Local Gebel Local Local Local Local Transfor. Transfor. 24 KVCR Painting Dewberry Joy of Paint Wyland’s Paint This Painting Kitchen Mexico Cooking Chefs Life Simply Ming Ciao Italia 28 KCET Raggs Play. Space Travel-Kids Biz Kid$ News Asia Biz Ed Slott’s Retirement Rescue for 2014! (TVG) Å BrainChange-Perlmutter 30 ION Jeremiah Youssef In Touch Hour Of Power Paid Program 34 KMEX Paid Program Al Punto (N) República Deportiva (TVG) 40 KTBN Walk in the Win Walk Prince Redemption Liberate In Touch PowerPoint It Is Written B. Conley Super Christ Jesse 46 KFTR Tu Dia Tu Dia Happy Feet ››› (2006) Elijah Wood. -
Why Call Them "Cult Movies"? American Independent Filmmaking and the Counterculture in the 1960S Mark Shiel, University of Leicester, UK
Why Call them "Cult Movies"? American Independent Filmmaking and the Counterculture in the 1960s Mark Shiel, University of Leicester, UK Preface In response to the recent increased prominence of studies of "cult movies" in academic circles, this essay aims to question the critical usefulness of that term, indeed the very notion of "cult" as a way of talking about cultural practice in general. My intention is to inject a note of caution into that current discourse in Film Studies which valorizes and celebrates "cult movies" in particular, and "cult" in general, by arguing that "cult" is a negative symptom of, rather than a positive response to, the social, cultural, and cinematic conditions in which we live today. The essay consists of two parts: firstly, a general critique of recent "cult movies" criticism; and, secondly, a specific critique of the term "cult movies" as it is sometimes applied to 1960s American independent biker movies -- particularly films by Roger Corman such as The Wild Angels (1966) and The Trip (1967), by Richard Rush such as Hell's Angels on Wheels (1967), The Savage Seven, and Psych-Out (both 1968), and, most famously, Easy Rider (1969) directed by Dennis Hopper. Of course, no-one would want to suggest that it is not acceptable to be a "fan" of movies which have attracted the label "cult". But this essay begins from a position which assumes that the business of Film Studies should be to view films of all types as profoundly and positively "political", in the sense in which Fredric Jameson uses that adjective in his argument that all culture and every cultural object is most fruitfully and meaningfully understood as an articulation of the "political unconscious" of the social and historical context in which it originates, an understanding achieved through "the unmasking of cultural artifacts as socially symbolic acts" (Jameson, 1989: 20). -
A Dark New World : Anatomy of Australian Horror Films
A dark new world: Anatomy of Australian horror films Mark David Ryan Faculty of Creative Industries, Queensland University of Technology A thesis submitted in fulfillment of the degree Doctor of Philosophy (PhD), December 2008 The Films (from top left to right): Undead (2003); Cut (2000); Wolf Creek (2005); Rogue (2007); Storm Warning (2006); Black Water (2007); Demons Among Us (2006); Gabriel (2007); Feed (2005). ii KEY WORDS Australian horror films; horror films; horror genre; movie genres; globalisation of film production; internationalisation; Australian film industry; independent film; fan culture iii ABSTRACT After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream. -
2012-Loft-Film-Fest-Program
Festival Parties Join us as we cut the ribbon on our brand-new third screen! Ribbon cutting Friday November 9 at 5:00pm Open House 5:00 - 6:30pm Join the Loft staff, Board of Directors and local officials as we un- veil our new third screen (or what we affectionately call Screen 3)! You’ll be the first to step inside this new space for a behind-the- Loft Film Fest 2012 scenes tour! Join us for a champagne toast as we celebrate a job well done by an incredible team of dedicated people! loftfilmfest.com We will recognize the donors who made this phase of the project Inspired by film’s unique ability to entertain, engage, challenge and possible and we will especially honor those who have given their illuminate, The Loft Cinema will present its third annual international name to key parts of the project, including Bob Oldfather and film festival fromNovember 8th – 15th, 2012. Bookmans for the 3-D technology in Screen 3! Honoring Tucson’s richly diverse cultural community, The Loft Film Fest will present foreign films, documentaries and U.S. indies in a cin- You’re invited to The Loft Cinema’s ematic celebration of storytelling from around the world. 40th birthday party! The Loft Film Fest is an eight-day showcase of exclusive, one-time-only Friday November 15 from 5:30 - 7:30pm screenings and will feature: Yes, we know we don’t look 40, but The Loft is celebrating four • Festival favorites from Cannes, Sundance, Telluride, and more! decades of great film in Tucson! • Lively Q&A’s with talented filmmakers and actors Join us as we honor the last 40 years and toast the next 40! • Exciting retrospective screenings Where: The Lodge on the Desert • New international cinema 306 North Alvernon Way • Edgy Late Night movies When: 5:30 - 7:30pm, Thursday, November 15 (the actual 10th an- • Stimulating shorts from the filmmakers of tomorrow niversary of our purchase of The Loft as a nonprofit in 2002!) At the Loft Film Fest, audiences experience world-class film festival Who: Everyone! Loft Film Fest passholders get in free. -
Television Sharknados and Twitter Storms
Television Sharknados and Twitter Storms: Cult Film Fan Practices in the Age of Social Media Branding Stephen William Hay A thesis submitted to Victoria University of Wellington in fulfilment of the regulations for the degree of Master of Arts in Media Studies Victoria University of Wellington 2016 Abstract This thesis examines the Syfy channel’s broadcast of the television movie Sharknado and the large number of tweets that were sent about it. Sharknado’s audience engaged in cult film viewing practices that can be understood using paracinema theory. Paracinema engagement with cult films has traditionally taken place in midnight screenings in independent movie theatres and private homes. Syfy’s audience was able to engage in paracinematic activity that included making jokes about Sharknado’s low quality of production and interacting with others who were doing the same through the affordances of Twitter. In an age where branding has become increasingly important, Syfy clearly benefited from all the fan activity around its programming. Critical branding theory argues that the value generated by a business’s brand comes from the labour of consumers. Brand management is mostly about encouraging and managing consumer labour. The online shift of fan practices has created new opportunities for brand managers to subsume the activities of consumers. Cult film audience practices often have an emphasis on creatively and collectively engaging in rituals and activities around a text. These are the precise qualities that brands require from their consumers. Sharknado was produced and marketed by Syfy to invoke the cult film subculture as part of Syfy’s branding strategy. -
(500) Days of Summer 2009
(500) Days of Summer 2009 (Sökarna) 1993 [Rec] 2007 ¡Que Viva Mexico! - Leve Mexiko 1979 <---> 1969 …And Justice for All - …och rättvisa åt alla 1979 …tick…tick…tick… - Sheriff i het stad 1970 10 - Blåst på konfekten 1979 10, 000 BC 2008 10 Rillington Place - Stryparen på Rillington Place 1971 101 Dalmatians - 101 dalmatiner 1996 12 Angry Men - 12 edsvurna män 1957 127 Hours 2010 13 Rue Madeleine 1947 1492: Conquest of Paradise - 1492 - Den stora upptäckten 1992 1900 - Novecento 1976 1941 - 1941 - ursäkta, var är Hollywood? 1979 2 Days in Paris - 2 dagar i Paris 2007 20 Million Miles to Earth - 20 miljoner mil till jorden 1957 20,000 Leagues Under the Sea - En världsomsegling under havet 1954 2001: A Space Odyssey - År 2001 - ett rymdäventyr 1968 2010 - Year We Make Contact, The - 2010 - året då vi får kontakt 1984 2012 2009 2046 2004 21 grams - 21 gram 2003 25th Hour 2002 28 Days Later - 28 dagar senare 2002 28 Weeks Later - 28 veckor senare 2007 3 Bad Men - 3 dåliga män 1926 3 Godfathers - Flykt genom öknen 1948 3 Idiots 2009 3 Men and a Baby - Tre män och en baby 1987 3:10 to Yuma 2007 3:10 to Yuma - 3:10 till Yuma 1957 300 2006 36th Chamber of Shaolin - Shaolin Master Killer - Shao Lin san shi liu fang 1978 39 Steps, The - De 39 stegen 1935 4 månader, 3 veckor och 2 dagar - 4 Months, 3 Weeks and 2 Days 2007 4: Rise of the Silver Surfer - Fantastiska fyran och silversurfaren 2007 42nd Street - 42:a gatan 1933 48 Hrs. -
The Short Stories of Playboy and the Crisis of Masculinity
The Short Stories of Playboy and the Crisis of Masculinity Men in Playboy’s Short Fiction and 1950s America Pieter-Willem Verschuren [3214117] [Supervisor: prof. dr. J. van Eijnatten] 1 Table of Contents INTRODUCTION ....................................................................................................................................... 4 State of the Art .................................................................................................................................... 4 History: Male Anxieties in the 1950s ............................................................................................... 5 Male Identity ................................................................................................................................... 7 Magazines ........................................................................................................................................ 8 Playboy ............................................................................................................................................ 8 Theoretical Framework ....................................................................................................................... 9 Gender ............................................................................................................................................. 9 Masculinity .................................................................................................................................... 12 Identity ......................................................................................................................................... -
Science Fiction Films of the 1950S Bonnie Noonan Louisiana State University and Agricultural and Mechanical College, [email protected]
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 "Science in skirts": representations of women in science in the "B" science fiction films of the 1950s Bonnie Noonan Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Noonan, Bonnie, ""Science in skirts": representations of women in science in the "B" science fiction films of the 1950s" (2003). LSU Doctoral Dissertations. 3653. https://digitalcommons.lsu.edu/gradschool_dissertations/3653 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. “SCIENCE IN SKIRTS”: REPRESENTATIONS OF WOMEN IN SCIENCE IN THE “B” SCIENCE FICTION FILMS OF THE 1950S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English By Bonnie Noonan B.G.S., University of New Orleans, 1984 M.A., University of New Orleans, 1991 May 2003 Copyright 2003 Bonnie Noonan All rights reserved ii This dissertation is “one small step” for my cousin Timm Madden iii Acknowledgements Thank you to my dissertation director Elsie Michie, who was as demanding as she was supportive. Thank you to my brilliant committee: Carl Freedman, John May, Gerilyn Tandberg, and Sharon Weltman. -
This Month's Issue
FEBRUARY Including Venture Science Fiction NOVELETS Against Authority MIRIAM ALLEN deFORD 20 Witness for the Persecution RANDALL GARRETT 55 The Mountains of Magnatz JACK VANCE 102 SHORT STORIES The Gadge System R. BRETNOR 5 An Afternoon In May RICHARD WINKLER 48 The New Men JOANNA RUSS 75 The Way Back D. K. FINDLAY 83 Girls Will Be Girls DORIS PITKIN BUCK 124 FEATURES Cartoon GAHAN WILSON 19 Books JUDITH MERRIL 41 Desynchronosis THEODORE L. THOMAS 73 Science: Up and Down the Earth ISAAC ASIMOV 91 Editorial 4 F&SF Marketplace 129 Cover by George Salter (illustrating "The Gadge System") Joseph W. Ferman, PUBLISHER Ed~mrd L. Fcrma11, EDITOR Ted White, ASSISTANT EDITOR Isaac Asimov, SCIENCE EDITOR Judith Merril, BOOK EDITOR Robert P. llfil/s, CONSULTING EDITOR The Magazine of Fantasy and Science Fiction, Volnme 30, No. 2, Wlrolc No. 177, Feb. 1966. Plfblished monthly by Mercury Press, Inc., at 50¢ a copy. Aunual subscription $5.00; $5.50 in Canada and the Pan American Union, $6.00 in all other cormtries. Publication office, 10 Ferry Street, Concord, N.H. 03302. Editorial and ge11eral mail sholfld be sent to 3/7 East 53rd St., New York, N. Y. 10022. Second Class postage paid at Concord, N.H. Printed in U.S.A. © 1965 by Mercury Press, Inc. All riglrts inc/fl.ding translations iuto ot/rer la~>guages, resen•cd. Submissions must be accompanied by stamped, self-addressed ent•ciBPes; tire Publisher assumes no responsibility for retlfm of uusolicitcd ma1111scripts. BDITOBIAL The largest volume of mail which crosses our desk each day is that which is classified in the trade as "the slush pile." This blunt term is usually used in preference to the one y11u'll find at the very bottom of our contents page, where it says, ". -
Nosferatu. Revista De Cine (Donostia Kultura)
Nosferatu. Revista de cine (Donostia Kultura) Título: No diga bajo presupuesto, diga ... Roger Connan Autor/es: Valencia, Manuel Citar como: Valencia, M. (1994). No diga bajo presupuesto, diga ... Roger Connan. Nosferatu. Revista de cine. (14):79-89. Documento descargado de: http://hdl.handle.net/10251/40892 Copyright: Reserva de todos los derechos (NO CC) La digitalización de este artículo se enmarca dentro del proyecto "Estudio y análisis para el desarrollo de una red de conocimiento sobre estudios fílmicos a través de plataformas web 2.0", financiado por el Plan Nacional de I+D+i del Ministerio de Economía y Competitividad del Gobierno de España (código HAR2010-18648), con el apoyo de Biblioteca y Documentación Científica y del Área de Sistemas de Información y Comunicaciones (ASIC) del Vicerrectorado de las Tecnologías de la Información y de las Comunicaciones de la Universitat Politècnica de València. Entidades colaboradoras: Roger Corman :rj c--~- ~ c• 4 e :) ·~ No diga bajo presupuesto, diga ... Roger Corman Manuel Valencia í, bajo presupuesto, por céntimo, Ed. Laertes, Barcelona, los niveles de audiencia empeza que como bien explica el 1992), jamás realizó una pelícu ron a bajar, los estudios estimu Spropio Corman en su es la de serie B: "La serie B databa laban al público a ir al cine con pléndida y socarrona autobio de la Depresión, sólo fue un su el incentivo de los programas grafía (Cómo hice cien films en i·eso hasta principios de los años dobles, donde podían verse dos Hollywood y nunca perdí ni un cincuenta. En los treinta, cuando películas al precio de una. -
Aliens” (1986) – Superior Sequel to the Original Source
“Aliens” (1986) – Superior Sequel to the Original Source Retrospective by Dr. John L. Flynn Introduction At first glance, the notion of a sequel to “Alien” (1979) must have seemed like such a forgone conclusion. Next to “Star Wars” (1977) and “Close Encounters of the Third Kind” (1977), Ridley Scott’s stylish thriller had been one of the most popular films of the decade. But in the six years since its release, the motion picture had also spawned a rash of forgettable clones. And in a period filled with sequels to almost every successful and popular Hollywood movie that rarely succeeded on their own merit as original entertainment, the new production appeared to be more of a tremendous gamble than a sure thing. Besides the challenge to bring something familiar and new under budget and on time to the screen, the project also had to deal with its share of preconceptions. The most obvious problem writer and director James Cameron faced in developing a sequel to “Alien,” he said, was, “How do you beat a classic? You really have to dig deep into the bag of tricks and come up with some good ideas. And you have to do a proper homage to the original without being a mindless fan, something which is a piece of entertainment and a story in its own right.” Spawning the Sequel In the wake of “Alien’s” success, many similar films soon began appearing at the local multi-plex. Just as it had been influenced by low budget science fiction films of the Fifties and Sixties, like “It! The Terror from Beyond Space” (1958) and “Planet of the Vampires” (1965), the critically-acclaimed motion picture inspired its own collection of imitators, including “Inseminoid” (1980), ‘The Creature Wasn’t Nice” (1981), “Galaxina” (1981), “Galaxy of Terror” (1981) and many others.