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Nezávislý Horrorový Časopis Číslo 19 Červen 2016
NEZÁVISLÝ HORROROVÝ ČASOPIS ČÍSLO 19 ČERVEN 2016 Sedmdesátkový horror Edward Lee Milan Žáček Jenny Nowak John Sinclair Goblin Obsah Saturday Horror Fever. 3 V zajetí sedmé dekády . 4 Edward Lee . 14 Edward Lee – Sukkub . 18 White Trash Gothic (Edward Lee) . 20 The VVitch: A New-England Folktale . 24 Mark E. Pocha – Krajina kanibalov . 27 Geisterjäger . 29 Corey Haim . 33 V rokli Pustého žlebu (Vladimír Zábrodský) . 36 James Preller – Hororové příběhy: Děsu plný dům . 41 Cabin Fever . 42 Cronenberg kouzla zbavený . 44 Na 190 slovíček do strašidelného hotelu . 47 Jenny Nowak . 51 Jenny Nowak – Jiná rasa & Noční lovci . 54 The Hallow . 55 Po žlutých stopách napětí . 57 Goblin – Hudebně nadaný skřet . 62 Lumleyho Svět Vampýrů . 66 Akutně potřebná dovolená (Norbert Góra) . 69 Vrána: Soumrak bohů . 72 Milan Žáček . 74 Z horrorových překladů Milana Žáčka . 80 Umberto Lenzi, první kanibal . 81 Edward Lee – Golem . 84 Polednice . 85 Z análů sedmého schodu . 87 Anděl zkázy (Petr Boček – Miloslav Zubík) . 92 Clive Barker – Coldheart Canyon . 97 Krampus . 99 E-mail: [email protected] www.howardhorror.cz Redakce: Honza Vojtíšek, Roman Kroufek Externí spolupracovníci: Roman Bílek, Martin Štefko, Milan Žáček, Milan Vričan, Kristina Haidingerová, Mark E. Pocha, Jan Kohoutek, Martin Skuřok, Martin Kovařík Korektury: Zuzana Kocurková, Honza Vojtíšek Obálka: Alena Čadová Ilustrace: Dávid Marcin (21), Kristina Haidingerová (69), Petra Kulagová (37, 38, 48), Adam Kubík (92) Sazba: Július Muránsky HOWAR D – 19/2016 Saturday Horror Fever. Zdravíme za zvuků Bee Gees a vůně ohněm stravované marjánky. Doufáme, že máte načechrané kníry, zastřižené (ne vyholené!) bobříky a zásobu džínového oblečení. V tomto čísle se totiž vracíme do 70. -
Razza Cagna: Mondo Movies, the White Heterosexual Male Gaze, and the 1960S–1970S Imaginary of the Nation Gaia Giuliani*
Modern Italy, 2018 Vol. 23, No. 4, 429–444, doi:10.1017/mit.2018.32 Razza cagna: mondo movies, the white heterosexual male gaze, and the 1960s–1970s imaginary of the nation Gaia Giuliani* Centre of Social Studies, University of Coimbra, Portugal (Received 16 March 2018; final version accepted 23 July 2018) This article investigates the role, reception, and socio-cultural, political relevance of mondo movies in the context of late 1950s–early 1980s film and documentary. The mondo genre debuted with reportage films about sexuality in Europe and reached its pinnacle with Gualtiero Jacopetti’s assemblage films. The historical context in which this genre evolved, and white masculinity was rearticulated and positioned at the centre of the national imagined community, is mapped focusing both on gender and race constructions and on the gaze identifying, encoding and decoding the sensationalist presentation of postcolonial/ decolonising Otherness. A brief review of some of the author’s published work on 1962–1971 mondo movies introduces Cannibal Holocaust (1979) and director Ruggero Deodato’s controversial reflection on the white, capitalist, sexist, Western and neo-colonial anthropological gaze. Keywords: mondo movie; white male gaze; Italian imagined community; racism; postcoloniality Introduction This article aims to investigate the role, reception, and socio-cultural and political relevance of mondo movies in the context of Italian film and documentary from the late 1950s to the early 1980s. The mondo genre debuted with reportage films about sexuality in Europe and reached its pinnacle with the assemblage films of Gualtiero Jacopetti, Franco Prosperi and Dino Cavara. The historical context in which this genre evolved, and in which white masculinity was rearticulated and positioned at the centre of the national imagined community, will be mapped focusing both on gender and race constructions and on the gaze identifying, encoding and decoding the sensation- alist presentation of postcolonial/decolonising Otherness. -
Human Cruelty, Animal Suffering, and American Culture, 1900-Present
Behaving Like Animals: Human Cruelty, Animal Suffering, and American Culture, 1900-present The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation McGrath, Timothy Stephen. 2013. Behaving Like Animals: Human Cruelty, Animal Suffering, and American Culture, 1900-present. Doctoral dissertation, Harvard University. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:10974708 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA © 2013 – Timothy Stephen McGrath All rights reserved. Professor Nancy Cott Timothy Stephen McGrath Behaving Like Animals: Human Cruelty, Animals Suffering, and American Culture, 1900-present Abstract What does it mean to be cruel to an animal? What does it mean for an animal to suffer? These are the questions embedded in the term “cruelty to animals,” which has seemed, at first glance, a well defined term in modern America, in so far as it has been codified in anti-cruelty statutes. Cruelty to animals has been a disputed notion, though. What some groups call cruel, others call business, science, culture, worship, and art. Contests over the humane treatment of animals have therefore been contests over history, ideology, culture, and knowledge in which a variety of social actors— animal scientists, cockfighters, filmmakers, FBI agents, members of Congress, members of PETA, and many, many others—try to decide which harms against animals and which forms of animal suffering are justifiable. -
Danza Macabra: the Reevaluation of Antonio Margheriti Through His Film Castle of Blood Nicholas Diak a Thesis Submitted in Parti
Danza Macabra : The Reevaluation of Antonio Margheriti through His Film Castle of Blood Nicholas Diak A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Interdisciplinary Studies University of Washington 2012 Committee: Joe Sharkey David Coon Program Authorized to Offer Degree: Interdisciplinary Arts and Sciences ©Copyright 2012 Nicholas Diak TABLE OF CONTENTS Page Introduction ............................................................................................................................................... 1 Genre/Vernacular Films ........................................................................................................................ 3 A History of Margheriti / A History of Italian Vernacular Cinema ....................................................... 5 Sci-fi, Italian Style ................................................................................................................................ 7 Italy’s First Horror Cycle ...................................................................................................................... 8 Peplums ................................................................................................................................................ 11 Eurospy ............................................................................................................................................... 13 Mondo Films ...................................................................................................................................... -
The Birth of Brazilianism the Stereotypical Representation of Brazil in the Context of Cultural Imperialism and Media Concentration
The Birth of Brazilianism The Stereotypical Representation of Brazil in the Context of Cultural Imperialism and Media Concentration A thesis approved by the Faculty of Mechanical, Electrical and Industrial Engineering (International Graduate School Heritage Studies) at the Brandenburg University of Technology in Cottbus in partial fulfillment of the requirement for the award of the academic degree of Doctor of Philosophy (Ph.D.) in Heritage Studies submitted by Andreza André da Rocha, M.A. born in Porto Alegre, Rio Grande do Sul, Brazil Chairman: Prof. Dr. rer. pol. Athanassios Pitsoulis First Supervisor: Prof. Dr. phil. Christer Petersen Second Supervisor: Prof. Dr. phil. Marie-Theres Albert Day of the oral examination: 07. November 2012 Abstract The representation of Brazil in American mainstream cinema disseminates stereo- types that have their roots in narratives produced by European explorers during the colonial era. Films and other media from Brazil portray the country’s cultural and ethnic diversity more accurately, but due to media concentration and the global supremacy of the US-based film and television industry, only a few manage to reach international audiences and challenge widespread stereotypes. A critical examination of writings of Portuguese explorers produced in the centuries follow- ing the arrival of Pedro Álvares Cabral in Brazil provides the basis for the analysis of contemporary representations of Brazil in American cinema and reveals how early descriptions of Brazil have influenced these representations. In order to identify the main Brazilian stereotypes disseminated by feature films produced in the United States, a number of films released between 1984 and 2011 are analyzed. The results of the analysis allow for the identification of an ethnocentric regime of representation that is often employed by the world’s leading film and television industry to portray Otherness, reinforcing stereotypical ideas about racial difference and the culture and people of developing countries.