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Beetlejuice Handbook for the Recently Deceased Hardcover
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Guión Y Dirección De Un Cortometraje
Clase magistral "Creando un icono del terror" con George Donald “Don” Mancini Madrid, 24 de octubre de 2018 Organizado por: Actividad promovida por el Consejo Territorial de SGAE en Madrid DESTINATARIOS: Guionistas, directores, escritores y profesionales del audiovisual que estén interesados en conocer el nacimiento, evolución y desarrollo del personaje de la saga de películas de terror Child's Play: Chucky. 1 CONTENIDOS: George Donald expondrá en una charla abierta los aspectos más relevantes de la construcción del personaje Chucky. Chucky, que debutó en el cine hace treinta años, es uno de los iconos más importantes del cine de terror del siglo XX y durante esta clase tendremos la oportunidad de entender cómo se creó un personaje que, a día de hoy, es capaz de reinventarse para no dejar de sorprender y asustar al espectador. El nacimiento, la evolución, el desarrollo o el proceso de caracterización serán algunos de los aspectos a tratar por su creador además de compartir con los asistentes su experiencia profesional tanto en el ámbito cinematográfico como televisivo. PROFESOR: Don Mancini Es un guionista, productor y director de cine. Conocido internacionalmente por ser el creador de Chucky y guionista de toda su saga, integrada por un total de siete películas. La franquicia nació en 1988 con Muñeco diabólico (Child's Play) seguida de Muñeco diabólico 2 (1990), Muñeco diabólico 3 (1991), La novia de Chucky (Bride of Chucky. 1998), La semilla de Chucky (Seed of Chucky. 2004), La maldición de Chucky (Curse of Chucky. 2013) y Cult of Chucky (2017). Ha sido director además de sus últimas secuelas; La semilla de Chucky, La maldición de Chucky y Cult of Chucky. -
Brian Baker “Here on the Outside”: Mobility and Bio-Politics in Michael
MOBILITY AND BIO-POLITICS IN CODE 46 115 Brian Baker “Here on the Outside”: Mobility and Bio-politics in Michael Winterbottom’s Code 46 This article takes as its focus the representation of mobility and bio-politics in contemporary sf cinema. Globalized networks of mobility in late capitalism have been haunted by the figure of the globally mobile terrorist and by the possibility of global pandemics such as the SARS epidemic of 2002-03 or the H1N1 swine flu panic of 2009 which resulted in the UK government stockpiling anti-viral drugs in case of the spread of a “killer virus.” In an increasingly mobilized world, anxieties about movement of people, transmission of data and disease, and terrorism produce systems for policing and regulating mobility. These anxieties are articulated in contemporary spy thrillers, zombie films, and outbreak or transmission narratives.1 In what follows, Michael Winterbottom’s Code 46 (2003) serves as a diagnostic text for the analysis of figurations of globalized mobility and bio-politics, and this article uses the work of Giorgio Agamben, Michel Foucault, and Hannah Arendt to investigate Code 46’s mapping of exclusion and inclusion, of the refugee and the citizen, within regulatory systems for the control of mobility in a near-future, post-catastrophic world of globalized capital. Code 46 begins with shots of the desert, of roads, and of dispersed settlements taken from a low-flying airplane. These vertical shots (desert analogues of the vertical shots of Manhattan or other North American cities that are a staple of contemporary crime film and television) render landscape as geometry, not as lived space from a human perspective (using perspective) but from an impersonal, “God’s eye” point of view. -
Organisms and Human Bodies As Contagions in the Post-Apocalyptic State
CHAPTER 1 Organisms and Human Bodies as Contagions in the Post-Apocalyptic State Robert A. Booth n this chapter, I show how discourses of contagion and pollution not only imbue many post-apocalyptic cinema and television narratives but also mirror public discourse about immigration. Further, I examine the often- I 1 racialized immigrant in post-apocalyptic film and television that is, in essence, a discourse on insider–outsider social divisions and relationships of power. Finally, I elucidate the argument that post-apocalyptic film and television rein- force the primacy of centralized political authority, namely the State, and post- 9/11 post-apocalyptic film in particular reinforces the hegemony of the State. The post-apocalyptic subgenre of science fiction and/or horror has become popular fodder for cinema and television. As Susan Sontag notes, “the science fiction film . is concerned with the aesthetics of destruction, with the pecu- liar beauties to be found in wreaking havoc, making a mess. And it is in the imagery of destruction that the core of a good science fiction film lies.”2 Portrayals of the post-apocalypse often index or echo visual memories of terrible societal traumatic events of the past.3 With the experience of the social, political, economic, and emotional trauma of the 9/11 attacks, one might reasonably assume that Americans would acquire a distaste for graphic destructive violence. Certainly, after the attacks, filmmakers occasionally felt pressured to remove images of the Twin Towers or to change content that might evoke the tragedy, such as planes crashing into skyscrapers. However, post-apocalyptic genres remain ever popular in American television and cinema. -
Models of Time Travel
MODELS OF TIME TRAVEL A COMPARATIVE STUDY USING FILMS Guy Roland Micklethwait A thesis submitted for the degree of Doctor of Philosophy of The Australian National University July 2012 National Centre for the Public Awareness of Science ANU College of Physical and Mathematical Sciences APPENDIX I: FILMS REVIEWED Each of the following film reviews has been reduced to two pages. The first page of each of each review is objective; it includes factual information about the film and a synopsis not of the plot, but of how temporal phenomena were treated in the plot. The second page of the review is subjective; it includes the genre where I placed the film, my general comments and then a brief discussion about which model of time I felt was being used and why. It finishes with a diagrammatic representation of the timeline used in the film. Note that if a film has only one diagram, it is because the different journeys are using the same model of time in the same way. Sometimes several journeys are made. The present moment on any timeline is always taken at the start point of the first time travel journey, which is placed at the origin of the graph. The blue lines with arrows show where the time traveller’s trip began and ended. They can also be used to show how information is transmitted from one point on the timeline to another. When choosing a model of time for a particular film, I am not looking at what happened in the plot, but rather the type of timeline used in the film to describe the possible outcomes, as opposed to what happened. -
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. -
Ghs Newspaper
OCT 2020 | ISSUE 2 Follow us on Instagram @ghs_newspaper_club GHS NEWSPAPER IN THIS ISSUE: The Battle Between Halloween and COVID Page 02 Top 5 Scary Movies Page 03 Variety Show Treks On Pages 06-07 Students, School, and COVID Page 10 All-State Music Festival: Only the Best of the Best Pages 15-16 Fall Sports Wrap-Up Pages 18-21 GHS NEWSPAPER | page 01 THE BATTLE BETWEEN HALLOWEEN AND COVID By: An Chi Nguyen Halloween is rolling around, and this year’s holiday is going to look a bit different. With the pandemic still trekking on, it’s important to keep yourself safe during the spooky season. Taking precautions, like washing your hands and wearing masks, will ensure you stay healthy and well. Many people are debating whether Halloween should be cancelled due to COVID-19. Corporations and businesses that rely on the holiday are hoping to keep the customs alive. Candy manufacturers, costume designers, and even the movie industry all look to Halloween as their big boom in business. The cancellation of Halloween will also impact the kids that see the day as a joy. In an interview with The New York Times, Dr. Gosh said, “I think completely taking away Halloween could be detrimental to some of the mental health issues that kids are facing right now.” Halloween is an outlet for kids to express their creativity and have some fun. This Halloween, the Centers for Disease Control recommend trick-or-treating be minimized and controlled. Wearing masks, gloves, and bringing hand sanitizer is the safest way to still go out, as well as staying six feet apart from other goers and setting candy bags outside to grab quickly. -
The Dracula Film Adaptations
DRACULA IN THE DARK DRACULA IN THE DARK The Dracula Film Adaptations JAMES CRAIG HOLTE Contributions to the Study of Science Fiction and Fantasy, Number 73 Donald Palumbo, Series Adviser GREENWOOD PRESS Westport, Connecticut • London Recent Titles in Contributions to the Study of Science Fiction and Fantasy Robbe-Grillet and the Fantastic: A Collection of Essays Virginia Harger-Grinling and Tony Chadwick, editors The Dystopian Impulse in Modern Literature: Fiction as Social Criticism M. Keith Booker The Company of Camelot: Arthurian Characters in Romance and Fantasy Charlotte Spivack and Roberta Lynne Staples Science Fiction Fandom Joe Sanders, editor Philip K. Dick: Contemporary Critical Interpretations Samuel J. Umland, editor Lord Dunsany: Master of the Anglo-Irish Imagination S. T. Joshi Modes of the Fantastic: Selected Essays from the Twelfth International Conference on the Fantastic in the Arts Robert A. Latham and Robert A. Collins, editors Functions of the Fantastic: Selected Essays from the Thirteenth International Conference on the Fantastic in the Arts Joe Sanders, editor Cosmic Engineers: A Study of Hard Science Fiction Gary Westfahl The Fantastic Sublime: Romanticism and Transcendence in Nineteenth-Century Children’s Fantasy Literature David Sandner Visions of the Fantastic: Selected Essays from the Fifteenth International Conference on the Fantastic in the Arts Allienne R. Becker, editor The Dark Fantastic: Selected Essays from the Ninth International Conference on the Fantastic in the Arts C. W. Sullivan III, editor Library of Congress Cataloging-in-Publication Data Holte, James Craig. Dracula in the dark : the Dracula film adaptations / James Craig Holte. p. cm.—(Contributions to the study of science fiction and fantasy, ISSN 0193–6875 ; no. -
28 Days Later
28 DAYS LATER Written by Alex Garland CLOSE ON A MONITOR SCREEN: Images of stunning violence. Looped. Soldiers in a foreign war shoot an unarmed civilian at point- blank range; a man is set on by a frenzied crowd wielding clubs and machetes; a woman is necklaced while her killers cheer and howl. Pull back to reveal that we are seeing one of many screens in a bank of monitors, all showing similar images... Then revealing that the monitors are in a... INT. SURGICAL CHAMBER - NIGHT ...surgical chamber. And watching the screens is a... ...chimp, strapped to an operating table, with its skull dissected open, webbed in wires and monitoring devices, muzzled with a transparent guard. Alive. Behind the surgical chamber, through the wide doorframe, we can see a larger laboratory beyond. INT. BRIGHT CORRIDOR - NIGHT A group of black-clad ALF Activists, all wearing balaclavas, move down a corridor. They carry various gear - bag, bolt cutters. As they move, one Activist reaches up to a security camera and sprays it black with an aerosol paint can. INT. LABORATORY - NIGHT The Activists enter the laboratory. CHIEF ACTIVIST Fucking hell... The Chief Activist takes his camera off his shoulder and starts taking photos. The room is huge and long, and darkened except for specific pools of light. Partially illuminated are rows of cages with clear perspex doors. They run down either side of the room. In the cages are chimpanzees. 2. Most are in a state of rabid agitation, banging and clawing against the perspex, baring teeth through foam-flecked mouths. -
Scary Movies at the Cudahy Family Library
SCARY MOVIES AT THE CUDAHY FAMILY LIBRARY prepared by the staff of the adult services department August, 2004 updated August, 2010 AVP: Alien Vs. Predator - DVD Abandoned - DVD The Abominable Dr. Phibes - VHS, DVD The Addams Family - VHS, DVD Addams Family Values - VHS, DVD Alien Resurrection - VHS Alien 3 - VHS Alien vs. Predator. Requiem - DVD Altered States - VHS American Vampire - DVD An American werewolf in London - VHS, DVD An American Werewolf in Paris - VHS The Amityville Horror - DVD anacondas - DVD Angel Heart - DVD Anna’s Eve - DVD The Ape - DVD The Astronauts Wife - VHS, DVD Attack of the Giant Leeches - VHS, DVD Audrey Rose - VHS Beast from 20,000 Fathoms - DVD Beyond Evil - DVD The Birds - VHS, DVD The Black Cat - VHS Black River - VHS Black X-Mas - DVD Blade - VHS, DVD Blade 2 - VHS Blair Witch Project - VHS, DVD Bless the Child - DVD Blood Bath - DVD Blood Tide - DVD Boogeyman - DVD The Box - DVD Brainwaves - VHS Bram Stoker’s Dracula - VHS, DVD The Brotherhood - VHS Bug - DVD Cabin Fever - DVD Candyman: Farewell to the Flesh - VHS Cape Fear - VHS Carrie - VHS Cat People - VHS The Cell - VHS Children of the Corn - VHS Child’s Play 2 - DVD Child’s Play 3 - DVD Chillers - DVD Chilling Classics, 12 Disc set - DVD Christine - VHS Cloverfield - DVD Collector - DVD Coma - VHS, DVD The Craft - VHS, DVD The Crazies - DVD Crazy as Hell - DVD Creature from the Black Lagoon - VHS Creepshow - DVD Creepshow 3 - DVD The Crimson Rivers - VHS The Crow - DVD The Crow: City of Angels - DVD The Crow: Salvation - VHS Damien, Omen 2 - VHS -
275. – Part One
275. – PART ONE 275. Clifford (1994) Okay, here’s the deal: I don’t know you, you don’t know me, but if you are anywhere near a television right now I need you to stop whatever it is that you’re doing and go watch “Clifford” on HBO Max. This is another film that has a 10% score on Rotten Tomatoes which just leads me to believe that all of the critics who were popular in the nineties didn’t have a single shred of humor in any of their non-existent funny bones. I loved this movie when I was seven, and I love it even more when I’m thirty-three. It’s genius. Martin Short (who at the time was forty-four) plays a ten-year-old hyperactive nightmare child from hell. I mean it, this kid might actually be the devil. He is straight up evil, conniving, manipulative and all-told probably causes no less than ten million dollars-worth of property damage. And, again, the plot is so simple – he just wants to go to Dinosaur World. There are so many comedy films with such complicated plots and motivations for their characters, but the simplistic genius of “Clifford” is just this – all this kid wants on the entire planet is to go to Dinosaur World. That’s it. The movie starts with him and his parents on an plane to Hawaii for a business trip, and Clifford knows that Dinosaur Land is in Los Angeles, therefore he causes so much of a ruckus that the plane has to make an emergency landing. -
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