ED WOOD by Scott Alexander & Larry Karaszewski
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Transsexuality in Film by Carolyn Kraus
Transsexuality in Film by Carolyn Kraus Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com Representations of transsexuality in films fall along a spectrum from freak-show sexploitation, to dramatic and documentary depictions of the struggles of transsexuals, and, finally, to the metaphorical use of transsexuality in exploring borders, not only sexual borders but also racial, religious, and political ones as well. The Transsexual as Joke Whereas transvestites have been depicted in film since the silent era, transsexuals (people who have undergone sex-change surgery or who choose to live as the opposite gender) entered the movies only in the early 1950s. The earliest celluloid glimpses of transsexuality appeared shortly after news of George/ Christine Jorgensen's 1952 sex-change surgery shocked and mesmerized the world with headlines such as "Ex-GI Becomes Blonde Beauty," "Christine, by George!" and "Thousands in U.S. Don't Know Their True Sex." The first movie attempting to capitalize on the story came from Ed Wood, a quirky filmmaker who was once named the "World's Worst Director." Wood's Glen or Glenda (I Changed My Sex) (1953) tells two stories, one about a transvestite, one about a transsexual. Ex-Dracula Bela Lugosi lurks between scenes delivering screwball pleas for tolerance: "Vat are little boys made ov? Ees eet puppy dog tails? Beeg fat snails? Or maybe brassieres!" The result is pure camp, although Wood, a cross-dresser himself, flashed an intended moral across the screen in the film's opening frames: "Judge Ye Not!" The filming of Glen or Glenda is depicted in Tim Burton's 1994 film biography Ed Wood. -
Louisville Slugger Museum & Factory Goes Batty with Home Run
FOR IMMEDIATE RELEASE: Louisville Slugger Museum & Factory Goes Batty with Home Run Halloween Museum plans ghoulish grand slam weekend; Festivities begin Wednesday Louisville, Ky. – October 12th, 2016 - For Halloween, Louisville Slugger Museum & Factory is getting wicked. Wicked fun, that is. From October 19 – 23, Louisville Slugger Museum & Factory will celebrate its first ever Home Run Halloween. A hauntingly good time that includes Creepy Cocktails, two nights of Double Creature Features and a Family Fun Fest, plus The World’s Largest Vampire Stake and free admission to the spectacular Ripley’s Believe It or Not!® Oddball™ exhibition. Wednesday, October 19th World’s Largest Vampire Stake Unveiled Vampires beware. They don’t make your kind of bats at Louisville Slugger Museum & Factory. But they do have a big surprise for any bloodsuckers who swoop by. On Wednesday, October 19, at 10 a.m., Louisville Slugger Museum & Factory will unveil The World’s Largest Vampire Stake. The stake is a towering eight-feet, eight-inches long. It was hand-hewn in the bat factory owned by Hillerich & Bradsby Co. A chainsaw, an electric hand planer and a blow torch were used to craft the stake from a 12-inch diameter ash log that was selected and shipped in from H&B’s forest in Northwest Pennsylvania. “The same properties that make our ash trees great for baseball bats also make them the perfect choice for vampire stakes. Because of its grain structure, ash wood is flexible and less likely to break, just what you need when a baseball or a vampire is coming your way,” deadpanned Anne Jewell, VP and Executive Director of Louisville Slugger Museum & Factory. -
Ed Wood : Le Film / Ed Wood, États-Unis, 1994, 124 Minutes]
Document généré le 2 oct. 2021 15:36 Séquences La revue de cinéma Ed Wood Le film Ed Wood, États-Unis, 1994, 124 minutes Alain Dubeau Robert Morin Numéro 175, novembre–décembre 1994 URI : https://id.erudit.org/iderudit/59410ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer ce compte rendu Dubeau, A. (1994). Compte rendu de [Ed Wood : le film / Ed Wood, États-Unis, 1994, 124 minutes]. Séquences, (175), 24–25. Tous droits réservés © La revue Séquences Inc., 1994 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ les surréalistes n'auraient pas renié. À croire que le film qui, selon le cinéaste et les «psys» de l'époque, ne peut Bien entendu, tout cela ne serait pas si mal s'il n'y préféré de Wood était Un Chien Andalou. Non pas bien qu'être bénéfique à tous. Ainsi, un homme heureux en avait aussi le jeu outré et ampoulé de Dolores Fuller, très sûr que Glen or Glenda ait une quelconque affinité déshabillé ne sera-t-il pas plus productif dans son travail? digne dans son rôle de fiancée comprehensive. -
Conditional Self-Attention for Query-Based Summarization
Conditional Self-Attention for Query-based Summarization Yujia Xie ∗ Tianyi Zhou Yi Mao Weizhu Chen Georgia Tech University of Washington Microsoft Microsoft [email protected] [email protected] [email protected] [email protected] Abstract element’s context-aware embedding is then com- puted by weighted averaging of other elements Self-attention mechanisms have achieved with the probabilities. Hence, self-attention is great success on a variety of NLP tasks due powerful for encoding pairwise relationship into to its flexibility of capturing dependency contextual representations. between arbitrary positions in a sequence. For problems such as query-based summarization However, higher-level language understanding (Qsumm) and knowledge graph reasoning often relies on more complicated dependencies where each input sequence is associated with than the pairwise one. One example is the con- an extra query, explicitly modeling such ditional dependency that measures how two ele- conditional contextual dependencies can lead ments are related given a premise. In NLP tasks to a more accurate solution, which however such as query-based summarization and knowl- cannot be captured by existing self-attention edge graph reasoning where inputs are equipped mechanisms. In this paper, we propose condi- with extra queries or entities, knowing the depen- tional self-attention (CSA), a neural network module designed for conditional dependency dencies conditioned on the given query or entity is modeling. CSA works by adjusting the extremely helpful for extracting meaningful rep- pairwise attention between input tokens in a resentations. Moreover, conditional dependencies self-attention module with the matching score can be used to build a large relational graph cov- of the inputs to the given query. -
Title of Dissertation
SETTING UP CAMP: IDENTIFYING CAMP THROUGH THEME AND STRUCTURE A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy By Michael T. Schuyler January, 2011 Examining Committee Members: Cornelius B. Pratt, Advisory Chair, Strategic Communication John A. Lent, Broadcasting, Telecommunications & Mass Media Paul Swann, Film & Media Arts Roberta Sloan, External Member, Theater i © Copyright 2010 by Michael T. Schuyler All Rights Reserved ii ABSTRACT Camp scholarship remains vague. While academics don’t shy away from writing about this form, most exemplify it more than define it. Some even refuse to define it altogether, arguing that any such attempt causes more problems than it solves. So, I ask the question, can we define camp via its structure, theme and character types? After all, we can do so for most other genres, such as the slasher film, the situation comedy or even the country song; therefore, if camp relies upon identifiable character types and proliferates the same theme repeatedly, then, it exists as a narrative system. In exploring this, I find that, as a narrative system, though, camp doesn’t add to the dominant discursive system. Rather, it exists in opposition to it, for camp disseminates the theme that those outside of heteronormativity and acceptability triumph not in spite of but because of what makes them “different,” “othered” or “marginalized.” Camp takes many forms. So, to demonstrate its reliance upon a certain structure, stock character types and a specific theme, I look at the overlaps between seemingly disperate examples of this phenomenon. -
PERUSAL SCRIPT © Susan Haley
Haley Productions’ Murder Mysteries 800-293-3302/510-235-0118 [email protected] www.haleyproductions.com PERUSAL SCRIPT © Susan Haley 2003 (Partial scripts; some explanations/details are missing but will be included with your script purchase) Worldwide copyright laws and conventions protect all Haley Production’s scripts. The buyer is allowed to use this script for one performance only. It's an infringement of copyright law to give a performance or reading of any such play or excerpt without prior consent of Haley Productions. It is also a violation of copyright law to copy part or all of a play by any means, including but not limited to typewriter, photocopy, videotape or computer, without express permission of Haley Productions. Please contact us for multiple usage rights. FINAL CUT YEAR: current (the 1950’s is also very fun era for this script). STORY: Director Eddie Cheek is looking for backers for his new movie so he’s throwing a gala shindig for interested parties. In return for their funding his movie, he’s promised them parts in the picture. PRIMARY SUSPECTS (these are the folks who will have full knowledge of the mystery; you’ll give them a complete script): COSTUMES: Suggestions provided in full script Eddie Cheek: A self-absorbed B-movie director whose movies tend to become cult classics more than mainstream films. His mentor is Ed Wood, Jr.* so that gives you an idea of the type of director he is. He claims authorship of his latest screenplay but he’s lying. He didn’t write it. He stole it when he was a script reader for TANTAMOUNT FILMS 3 years ago. -
The Making of a Classic
Saturday, October 22 at 2 & 8 pm only Ed D. Wood’s The Making of a Classic hortly before Bela Lugosi’s death in 1956, the actor had been working Swith poverty row Producer-Director Ed Wood on numerous half-realized projects variously titled Tomb of the Vampire or The Ghoul Goes West. According to Ed Wood, “Lugosi needed a thousand dollars, so I shot some footage of him.” Lugosi’s scenes were probably shot in the Spring of 1955 before Bela entered Norwalk hospital for treatment for his morphine addiction. until July 1959 through Valiant Pictures, These scenes featured Lugosi weep- the receiver of DCA. It went into general ing at a funeral, walking in front of release in the US in July, 1959, as Plan Tor Johnson’s house in the daytime, 9 from Outer Space, on the bottom of walking in and out of Johnson’s side a double bill with DCA’s Time Lock. door at night, and walking through a graveyard in daytime. Only the The original title is mentioned at the end first two sequences had reached any of Criswell’s opening narration when level of completion. When Lugosi he asks the audience, “Can your heart died, Wood shelved these projects. stand the shocking facts about grave 1959 – Black & White – 79 Minutes robbers from outer space?” Like many Shortly thereafter Wood developed independent films of the period,Plan Written, Produced & Directed by ...... Ed Wood Jr. the story and screenplay for Grave 9 was distributed under a states’ rights Executive Producer .................. J. Edward Reynolds Robbers from Outer Space planning to basis. -
Tracing the History of Trans and Gender Variant Filmmakers
Laura Horak Tracing the History of Trans and Gender Variant Filmmakers Abstract Most writing on transgender cinema focuses on representations of trans people, rather than works made by trans people. This article surveys the history of trans and gender variant people creating audiovisual media from the beginning of cinema through today. From the professional gender impersonators of the stage who crossed into film during the medium’s first decades to self- identified transvestite and transsexual filmmakers, like Ed Wood and Christine Jorgensen of the mid-twentieth century, to the enormous upsurge in trans filmmaking of the 1990s, this article explores the rich and complex history of trans and gender variant filmmaking. It also considers the untraceable gender variant filmmakers who worked in film and television without their gender history becoming known and those who made home movies that have been lost to history. “They cannot represent themselves, they must Keegan have importantly analyzed the work of be represented.”1 Viviane Namaste begins her particular trans and gender variant filmmakers, foundational essay on transsexual access to the focusing primarily on the 1990s and 2000s.7 More media with this quote from Karl Marx. Namaste recently, Keegan and others have investigated trans described the many obstacles to transsexual self- experiences of spectatorship and articulated a representation in the 1990s and early 2000s. Since concept of “trans aesthetics” that exceeds identity then, new technologies have enabled hundreds categories.8 Trans filmmakers have also begun to of thousands of trans people to create and theorize their own and others’ work.9 Scholars have circulate amateur videos on YouTube.2 However, also investigated trans multimedia production, in representations of trans people made by and the form of zines, Tumblr blogs, photography, and for cisgender people still dominate mainstream interactive digital media.10 However, there has not media. -
Elvis for Dummies‰
spine=.76” Music ™ The ultimate introduction to the Making Everything Easier! life and works of the King Want to understand Elvis Presley? This friendly guide covers Open the book and find: all phases of Elvis’s career, from his musical influences as a • The significance of the major teenager in Memphis and his first recordings to his days at events in Elvis’s career Graceland and the mystery surrounding his death. You’ll discover little-known details about his life, appreciate his • Meanings behind Elvis’s music contributions to music and film, and understand why his • The controversy over his musical Elvis work still resonates with so many people today. performing style Elvis • Explore Elvis’s musical roots — see how Elvis’s childhood and his • Career highlights that no other Southern background influenced the development of his sound performer has accomplished • Trace the beginnings of his storied career — be there as Elvis • A typical Elvis concert — what it makes his first recordings for Sun Records was like and what it meant • Relive the magic — experience the frenzy and excitement that • Details on Elvis’s television surrounded Elvis’s entrance to the national music scene appearances • Take a fresh look at Elvis’s films — understand the • The many ways fans keep Elvis’s misconceptions surrounding Elvis’s Hollywood career memory alive • Watch as Elvis reinvents himself — witness his comeback to live • An appendix of the important performances, culminating with an historic act in Las Vegas people in Elvis’s life Learn to: Go to dummies.com® • Look objectively at Elvis’s major life events, for more! both on and offstage • Identify Elvis’s influence on music, society, and popular culture • Explain to your friends why Elvis is the undisputed King of Rock ’n’ Roll $21.99 US / $25.99 CN / £15.99 UK • Appreciate Elvis’s enduring legacy and his place as an American cultural icon Susan Doll, PhD, is the author of numerous books on Elvis Presley. -
List of Shows Master Collection
Classic TV Shows 1950sTvShowOpenings\ AdventureStory\ AllInTheFamily\ AManCalledShenandoah\ AManCalledSloane\ Andromeda\ ATouchOfFrost\ BenCasey\ BeverlyHillbillies\ Bewitched\ Bickersons\ BigTown\ BigValley\ BingCrosbyShow\ BlackSaddle\ Blade\ Bonanza\ BorisKarloffsThriller\ BostonBlackie\ Branded\ BrideAndGroom\ BritishDetectiveMiniSeries\ BritishShows\ BroadcastHouse\ BroadwayOpenHouse\ BrokenArrow\ BuffaloBillJr\ BulldogDrummond\ BurkesLaw\ BurnsAndAllenShow\ ByPopularDemand\ CamelNewsCaravan\ CanadianTV\ CandidCamera\ Cannonball\ CaptainGallantOfTheForeignLegion\ CaptainMidnight\ captainVideo\ CaptainZ-Ro\ Car54WhereAreYou\ Cartoons\ Casablanca\ CaseyJones\ CavalcadeOfAmerica\ CavalcadeOfStars\ ChanceOfALifetime\ CheckMate\ ChesterfieldSoundOff\ ChesterfieldSupperClub\ Chopsticks\ ChroniclesOfNarnia\ CimmarronStrip\ CircusMixedNuts\ CiscoKid\ CityBeneathTheSea\ Climax\ Code3\ CokeTime\ ColgateSummerComedyHour\ ColonelMarchOfScotlandYard-British\ Combat\ Commercials50sAnd60s\ CoronationStreet\ Counterpoint\ Counterspy\ CourtOfLastResort\ CowboyG-Men\ CowboyInAfrica\ Crossroads\ DaddyO\ DadsArmy\ DangerMan-S1\ DangerManSeason2-3\ DangerousAssignment\ DanielBoone\ DarkShadows\ DateWithTheAngles\ DavyCrockett\ DeathValleyDays\ Decoy\ DemonWithAGlassHand\ DennisOKeefeShow\ DennisTheMenace\ DiagnosisUnknown\ DickTracy\ DickVanDykeShow\ DingDongSchool\ DobieGillis\ DorothyCollins\ DoYouTrustYourWife\ Dragnet\ DrHudsonsSecretJournal\ DrIQ\ DrSyn\ DuffysTavern\ DuPontCavalcadeTheater\ DupontTheater\ DustysTrail\ EdgarWallaceMysteries\ ElfegoBaca\ -
Bad for Good William D
Bad For Good William D. Routt Beyond good and evil [1] Even before Tim Burton made a movie based on his life, almost everyone knew two things about Edward D. Wood, Jr. The first was that he directed "the worst movie ever made", Plan 9 From Outer Space (1956). The second was that he was a transvestite. The two things seem to be linked in some way - or, at least, they often crop up together, as they did just now. And, when you think about it, that is strange.[2] But then, reactions to Ed Wood do tend towards the strange. I remember when I first saw Plan 9. It was on television. In fact, I cannot imagine seeing an Ed Wood movie anywhere else but on television; they were made-for-TV, direct-to-video, before such forms were invented. It was late at night (of course). I was tired and the experience was a hallucinatory one. The film did not seem to have a plot. It opened with "Criswell Predicts", for God's sake! Now and then there were shots of Bela Lugosi stalking with his cape over his eyes (not Lugosi at all, as I later learned) and Vampira staring through creepy branches and Tor Johnson menacing with his arms raised and his mouth open. Cadillac hubcaps (or paper plates or plastic models - anyhow, not flying saucers) spinning across the sky. A tremendous amount of stock footage. Meandering pointless dialogue. Nothing happened: it was a movie of pure effect. For years afterward I described this film of my imagining, whose title I had forgotten, to people who were not interested. -
Bcsfazine #536 | Felicity Walker
The Newsletter of the British Columbia Science Fiction Association #536 $3.00/Issue January 2018 In This Issue: This and Next Month in BCSFA..........................................0 About BCSFA.......................................................................0 Letters of Comment............................................................1 Calendar...............................................................................3 News-Like Matter................................................................8 Herbie (Taral Wayne).........................................................17 Art Credits..........................................................................18 BCSFAzine © January 2018, Volume 46, #1, Issue #536 is the monthly club news- letter published by the British Columbia Science Fiction Association, a social organ- ization. ISSN 1490-6406. Please send comments, suggestions, and/or submissions to Felicity Walker (the editor), at felicity4711@ gmail .com or Apartment 601, Manhattan Tower, 6611 Coo- ney Road, Richmond, BC, Canada, V6Y 4C5 (new address). BCSFAzine is distributed monthly at White Dwarf Books, 3715 West 10th Aven- ue, Vancouver, BC, V6R 2G5; telephone 604-228-8223; e-mail whitedwarf@ deadwrite.com. Single copies C$3.00/US$2.00 each. Cheques should be made pay- able to “West Coast Science Fiction Association (WCSFA).” This and Next Month in BCSFA Friday 19 January 2018: Submission deadline for February BCSFAzine (ideally). Sunday 21 January 2018 at 6 PM: January BCSFA meeting—at ABC Country Res- taurant,