David Seltzer: the Omen All Rights Reserved
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Film Reviews
Page 117 FILM REVIEWS Year of the Remake: The Omen 666 and The Wicker Man Jenny McDonnell The current trend for remakes of 1970s horror movies continued throughout 2006, with the release on 6 June of John Moore’s The Omen 666 (a sceneforscene reconstruction of Richard Donner’s 1976 The Omen) and the release on 1 September of Neil LaBute’s The Wicker Man (a reimagining of Robin Hardy’s 1973 film of the same name). In addition, audiences were treated to remakes of The Hills Have Eyes, Black Christmas (due Christmas 2006) and When a Stranger Calls (a film that had previously been ‘remade’ as the opening sequence of Scream). Finally, there was Pulse, a remake of the Japanese film Kairo, and another addition to the body of remakes of nonEnglish language horror films such as The Ring, The Grudge and Dark Water. Unsurprisingly, this slew of remakes has raised eyebrows and questions alike about Hollywood’s apparent inability to produce innovative material. As the remakes have mounted in recent years, from Planet of the Apes to King Kong, the cries have grown ever louder: Hollywood, it would appear, has run out of fresh ideas and has contributed to its evergrowing bank balance by quarrying the classics. Amid these accusations of Hollywood’s imaginative and moral bankruptcy to commercial ends in tampering with the films on which generations of cinephiles have been reared, it can prove difficult to keep a level head when viewing films like The Omen 666 and The Wicker Man. -
Birth and Ruin: Ttte Devil Versus Social Codes in Rosemary's Baby, the Exorcist and Ttie Omen
BIRTH AND RUIN: TTTE DEVIL VERSUS SOCIAL CODES IN ROSEMARY'S BABY, THE EXORCIST AND TTIE OMEN BY NATASHA LOPUSINA A Thesis submitted to the Faculty of Graduate Studies In Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Department ofEnglish University of Manitoba Winnipeg, Manitoba @ Natasha Lopusina, March 2005 THE UNIVERSITY OF MANITOBA FACULTY OF GRADUATE STUDIES COPYRIGHT PERMISSION BIRTH AND RUIN: THE DEVIL VERSUS SOCIAL CODES IN ROSEMARY'S BABY, THE EXORCIST AND THE OMEN BY NATASHA LOPUSINA A ThesisÆracticum submitted to the Faculty of Graduate Studies of The University of Manitoba in partial fulfillment of the requirement of the degree MÄSTER Of ARTS NATASHA LOPUSINA O 2OO5 Permission has been granted to the Library of the University of Manitoba to lend or sell copies of this thesis/practicum, to the National Library of Canada to microfilm this thesis and to lend or sell copies of the film, and to University Microfilms Inc. to publish an abstract of this thesis/practicum. This reproduction or copy of this thesis has been made available by authority of the copyright owner solely for the purpose of private study and research, and may only be reproduced and copied as permitted by copyright laws or with express written authorization from the copyright owner. Table of contents Abstract 2 Introduction J CHAPTER I. Rosemary's Baby - A Woman's Realþ Within a Lie t3 CHAPTER II. The Visual Terror of The Exorcist's Daughter 39 CHAPTER III. The Devil as The Omen of the American Family 66 Conclusion 94 Bibliography 103 Abstract In mv thesis Birth and Ruin: The Devil versus Social Codes in Rosemaryt's Bab\t. -
Scared Sacred: Idolatry, Religion and Worship in the Horror Film Exclusive Chapter Except for Daily Dead From
Scared Sacred: Idolatry, Religion and Worship in the Horror Film Exclusive chapter except for Daily Dead from: “I don’t know if we’ve got the heir to the Thorn millions here or Jesus Christ Himself”: Catholicism, Satanism and the Role of Predestination in The Omen (1976) LMK Sheppard In The Omen’s (1976) climactic scene, protagonist Robert Thorn (Gregory Peck) takes his adoptive son Damien (Harvey Stephens) to sacred ground on the instruction of historian and demonologist/exorcist Carl Bugenhagen (Leo McKern). Thorn plans to murder the young heir in accordance with an ancient ritual. The entire narrative has led to this moment, at which point the titular omen is finally brought to bear: will the suspected Son of Satan be allowed to live, or will he be sacrificed for the greater good? This choice is not one made of free will; it has been purportedly predestined since biblical times, as confirmed by the final scene. At the double funeral of his parents, the camera focuses upon the face of Damien as he smiles before revealing that the child is holding the hands of two adults: Thorn’s best friends, the President of the United States and his first lady. Thorn’s attempt to kill Damien has set in motion a specific course of events, and the orphaned child has been adopted by arguably the most politically influential couple in the world. Thorn’s choice therefore played a pivotal part in the fulfillment of an ancient prophecy: the Antichrist will arise from the world of politics and bring about the apocalypse. -
The Omen 1976
"THE OMEN n An Original Screenplay by David Seltzer PRODUCER: HARVEY BERNHARD EXECUTIVE PRODUCER: MACE NEUFELD DIRECTOR: RICHARD DONNER REVISED September 8~ 1975 A-22 REVISED ... 9/26/75 0 TEE' OMEN° FADE IN EXT. TEE NIGHT SXY l S1l.ent .. Peace:ful .. The constellations SEEN clearly., quilted against bl~e, interwoven with the M1l.lcy' Wa.y. From the in.t1nite depths o~ the Universe, j_mperceptibly at f1rat, we begin to BEAR a SOUND. It is a CHANT. Unison and resounding .. Distant. -- slowly growi in volume -- a thousand human vo1ees repeating the 11 11 until i-t fills the atmosphere, and we begin to SENSE MOVEMENT 1n the·STARS. SUPER: IN 'WHITE, BIBLICAL SCRIPTURE: . ' "Let'He who hath understanding Reckon the· number ot the Beast; For it ia a human number; Its number is Six, Hundred and Sixty-six" SUPER FADES: And the chant begins to rise in volume, the constellations begin to shudder, as a new STAR slowly forms in their midst. SUPER: IN WHITE, BIBLICAL SCRIPTURE: -- CHAPmR TWELVE VE:RSE TWENTY-EIGHT -- SUPER FADES: As the chant increases in volume. and the star takes sudden shape; t'1re at its center, a ha.lo or black surrounded by white. SUPER: OPEN:mo Trl'LE: REVELATIONS As MUSIC THUNDERS to a CRESCENDO: the STA!l BtmNINO WITH GREAT INTENSITY ••• CUT TO: EXT./INT. ROME - NIGHT A-1 A limousine drives through city. (8 shot montage). -OUT 2 CUT TO: A-22 Scanned and converted to PDF by SCREENTALK Magazine - www.screentalk.biz 11 11 REVISED - THE OMEN - 9/26 75 1-A INT. -
Universidad Central Del Ecuador Facultad De Comunicación Social
UNIVERSIDAD CENTRAL DEL ECUADOR FACULTAD DE COMUNICACIÓN SOCIAL ANÁLISIS SEMIÓTICO DE LOS LENGUAJES KINÉSICOS Y PROXÉMICOS DE LA PELÍCULA “LA PROFECÍA I” TRABAJO DE GRADO PREVIO A LA OBTENCIÓN DEL TÍTULO DE LICENCIADO EN COMUNICACIÓN SOCIAL ANDRÉS ERNESTO PONCE PROAÑO DIRECTOR: MGS. DIMITRI MAXIMILIANO MADRID MUÑOZ Quito- Ecuador 2014 DEDICATORIA Dedico esta Tesis de Grado a mi hermano Santiago Ponce, quien con su apoyo e incentivo incondicional me permitió lograr culminar este trabajo de forma satisfactoria y a mi familia que colaboró todo el tiempo. ii AGRADECIMIENTOS: A Dios por ser mi fuente de inspiración y a quien le debo mi vida, a mis padres y a mi familia por inculcar en mí valores de responsabilidad, amor, disciplina y perseverancia, a las autoridades de las Instituciones laborales en las que me desempeño como al Coro de la Casa de la Cultura Ecuatoriana por demostrar su comprensión y respaldo frente a este trabajo; y a mis verdaderos amigos, quiénes a pesar de que no los veo constantemente me han brindado su apoyo, especialmente en las situaciones más difíciles. iii AUTORIZACIÓN DE LA AUTORÍA INTELECTUAL Yo Andrés Ernesto Ponce Proaño en calidad de autor del trabajo de investigación o tesis realizada sobre: “Análisis semiótico de los lenguajes kinésicos y proxémicos de la película La Profecía I” por la presente autorizo a la UNIVERSIDAD CENTRAL DEL ECUADOR, hacer uso de todos los contenidos que me pertenecen o de parte de los que contiene esta obra, con fines estrictamente académicos o de investigación. Los derechos que como autor me corresponden, con excepción de la presente autorización, seguirán vigentes a mi favor, de conformidad con lo establecido en los artículos 5,6,8;19 y demás pertinentes de la Ley de Propiedad Intelectual y su reglamento. -
University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES School of Philosophy The Veneer of Fear: Understanding Movie Horror by Stuart John Hitchcock Thesis for the degree of Doctor of Philosophy August 2016 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Doctor of Philosophy THE VENEER OF FEAR: UNDERSTANDING MOVIE HORROR By Stuart John Hitchcock Over the past half century, theorists have grappled with the issue that spectators engage with, and are emotionally affected by, fiction. In particular, film fiction has aroused interest because of the strength of emotional response. Traditional thinking about film accepted that illusion was a component of a spectator’s experience of film. However, contemporary theory has veered significantly from this and assumed that the spectator is always aware of the fictional nature of the content. -
David Ventura in FOCUS
Film Music SECOND EDITION IN FOCUS David Ventura Film Music in Focus provides a general introduction to music for film, covering its history, context and influences, and giving an explanation of some of the main technical practices and procedures of the industry. It is written with the music student in mind, butSECOND also takes into EDITION account the needs of film studies students and the requirements of the Creative and Media Diploma. This chapter explores music’s use in Horror, Sci-Fi and the Supernatural genres within cinema, where the soundtrack plays a particularly key role in producing the overall desired effect. Film Music The essential guide to the origins and practices of writing music for lm. Film Music in Focus is a fascinating and varied journey through the world of lm music. It not only in Focus explains the origins of composing for cinema, but covers many key lm genres, including horror, sci- , romance, epic and documentary, and investigates the role of the composer in each. This second edition is fully-revised and updated with the latest signi cant releases and new insights, including the lm blockbuster Atonement, a brand new chapter on world lm and full- colour images throughout. 1 As well as a guide for the general reader who has an interest in the genre, this book will be of great value to arts and humanities students of a range of subjects from music to media studies on A level, Diploma and undergraduate courses. This second edition includes a new section explaining ways in Film_Music_All_Chapters_V1.indd 1 11/06/2010 10:29:28 which the book may prove useful for a wide number of music, media and arts quali cations. -
Satan in the Modern World
Chapter 1 sa T a n i n T h e Mo D e r n Wo r l D n 1977 rumors started circulating among Christian churches that I Ray Kroc, owner of the McDonald’s fast-food chain, had appeared on the Phil Donahue show in May of that year to claim that the corpora- tion’s success was due to his pact with the devil. According to the rumors, he was donating 35 percent of the restaurant chain’s profits to the Church of Satan. A few years later, in 1982, rumors spread that the Proctor and Gamble logo depicting a moon and star was a satanic symbol. It was alleged that the company president, “a major twentieth-century Satanist,” also appeared on the Phil Donahue show confessing that all the company profits went to the Church of Satan. Even though the events never occurred—Kroc had appeared on the Phil Donahue show, but only to promote his book—rumors of Satanic activities continue. An Internet search of the names of these com- panies with the added word “Satan” reveals how persistent these rumors are. Who is this Satan who supposedly profits from major corporate contri- butions? Close your eyes and try to picture what Satan might look like. What do you see? Do you see a man in red tights with a forked tail, cloven hooves, horns on his head, and holding a pitchfork?—something akin to the logo found on cans of Underwood Deviled Ham Spread? If so, such a modern appearance is rooted in an early attempt of Christianity to demonize the gods of those they considered pagans. -
DAMIEN Network Draft 6-18-14.Fdx
Executive Producer: Glen Mazzara Executive Producer: Ross Fineman DAMIEN Written by Glen Mazzara NETWORK DRAFT June 18, 2014 Anyone clever may interpret the number of the Beast: it is the number of a human being, and the number is 666. -- Revelation 13:18 DAMIEN FADE IN: EXT. ISRAEL - DESERT - DAY The Promised Land. Milk and Honey. The fulfillment of God’s Covenant with his chosen people. Not only a crucible of civilization, but a crossroads for warring tribes. Many say peace here is impossible. We’re about to see for ourselves. A CITY -- Beit Hanoun -- rises from the desert. PRE-LAP: The sound of a CAMERA SHUTTER. EXT. BEIT HANOUN - DAY PHOTO -- A PALESTINIAN WOMAN, 40s, her face already heavy with lines, watches sadly as -- the shutter CLICKS again -- PHOTO -- Her FAMILY packs their belongings. CLICK. PHOTO -- As his SISTERS wrap things in sheets, a YOUNG BOY closes a box and carries it out of their small one- room house. CLICK. The boy hands the box to his FATHER who puts it on a cart piled with other boxes and suitcases. A PHOTOGRAPHER leans in and snaps a PHOTO of the anguished father. The father turns and looks directly at the camera. CLICK. We now see the photographer clearly for the first time: DAMIEN THORN, 30, rugged, unshaven. He’s only 30 but a very old soul. He’s already seen more of this world than most people will in a lifetime. That’s not necessarily a good thing. Damien Thorn is a war photographer. He sees the worst in us then holds a mirror up to it. -
The Final Conflict Free
FREE THE FINAL CONFLICT PDF Andy Griffiths | 285 pages | 15 Jan 2006 | Scholastic US | 9780439747509 | English | New York, United States Download The Final Conflict - My Abandonware Earth: Final Conflict is an American-Canadian science fiction television series based on ideas developed by Gene Roddenberry. The series was produced under the guidance of his widow, Majel Barrett-Roddenberrywho possessed notes The Final Conflict by Roddenberry that would provide the conceptual basis for the series. It ran for five seasons between October 6, and May 20, Early in the 21st century, a race of aliensthe Taelons often referred to as "the Companions"travel to Earth and take up residence in limited numbers. The The Final Conflict possess highly advanced technologies, many of which they share with humanity, seemingly out of generosity and good will. As a result of these advances, disease, war and pollution are nearly eliminated within three years of their arrival. Despite this, some question whether the Taelons' motives are as benevolent as they appear, and a resistance movement forms to halt the Taelons' ever growing influence on humanity. After the cancellation of Star Trek inits creator Gene Roddenberry began working on other projects, producing scripts and pilot episodes which were shown to various networks, including Genesis II and The Questor Tapes. He began early planning for a project called Battleground: Eartha science fiction series set in the near future when a group of aliens landed on Earth under a banner of peace. Twentieth Century Fox expressed interest in producing a pilot episode for the series, but Roddenberry's busy schedule prevented it. -
Teaching the Bible Through Popular Culture and the Arts
TEACHING THE BIBLE THROUGH POPULAR CULTURE AND THE ARTS Resources for Biblical Study Susan Ackerman, Hebrew Bible/Old Testament Editor J. Ross Wagner, New Testament Editor Number 53 TEACHING THE BIBLE THROUGH POPULAR CULTURE AND THE ARTS TEACHING THE BIBLE THROUGH POPULAR CULTURE AND THE ARTS Edited by Mark Roncace and Patrick Gray Society of Biblical Literature Atlanta TEACHING THE BIBLE THROUGH POPULAR CULTURE AND THE ARTS Copyright © 2007 by the Society of Biblical Literature All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by means of any information storage or retrieval system, except as may be expressly permit- ted by the 1976 Copyright Act or in writing from the publisher. Requests for permission should be addressed in writing to the Rights and Permissions Office, Society of Biblical Literature, 825 Houston Mill Road, Atlanta, GA 30329 USA. Library of Congress Cataloging-in-Publication Data Teaching the Bible through popular culture and the arts / edited by Mark Roncace, Patrick Gray. p. cm. — (Society of Biblical Literature resources for biblical study ; no. 53) Includes bibliographical references and index. ISBN: 978-1-58983-244-2 (paper binding : alk. paper) 1. Bible—Study and teaching. 2. Popular culture—Religious aspects—Study and teach- ing. 3. Arts and religion—Study and teaching. I. Roncace, Mark. II. Gray, Patrick, 1970–. BS600.3.T43 2007 220.071—dc22 2007036077 15 14 13 12 11 10 09 08 07 5 4 3 2 1 Printed in the United States of America on acid-free, recycled paper conforming to ANSI/NISO Z39.48-1992 (R1997) and ISO 9706:1994 standards for paper permanence. -
Primal Dreams and Screams in the Satanic Screen Carrol L
Journal of Religion & Film Volume 19 Article 8 Issue 2 Fall 2015 10-1-2015 "We Are Legion": Primal Dreams and Screams in the Satanic Screen Carrol L. Fry Dr Northwest Missouri State University, [email protected] Recommended Citation Fry, Carrol L. Dr (2015) ""We Are Legion": Primal Dreams and Screams in the Satanic Screen," Journal of Religion & Film: Vol. 19 : Iss. 2 , Article 8. Available at: https://digitalcommons.unomaha.edu/jrf/vol19/iss2/8 This Article 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]. "We Are Legion": Primal Dreams and Screams in the Satanic Screen Abstract Satan figures prominently in the Christian tradition as the ultimate Other, the enemy of our species, and he has been a central villain first in literature and now in horror films. Why viewers enjoy films that scare them is a conundrum of long standing. An explanation might come from the work of a new generation of Darwinists who have expanded on the master's findings to develop the field of evolutionary biology. Scholars in these fields believe that adaptation to the environment and survival of the fittest created not only physical forms for species but also behaviors that were adaptive for our primal ancestors and are now part of our genetic makeup as whispers within that nudge our actions and beliefs. Our response to film and literature is an important form of that behavior, and evolutionary biology would suggest that the whisperings would lead us to respond with pleasure to primal narratives inherited from adaptive experiences of our Paleolithic and Neolithic forebears.