DOCSLIB.ORG

{PDF EPUB} Return of the Living Dead by John Russo Return of the Living Dead by John Russo, First Edition

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
{PDF EPUB} Return of the Living Dead by John Russo Return of the Living Dead by John Russo, First Edition Read Ebook {PDF EPUB} Return of the Living Dead by John Russo Return of the Living Dead by John Russo, First Edition. Undead (Omnibus Edition of Night of the Living Dead and Return of the Living Dead) RUSSO, John. Published by Titan Books (2011) Used - Softcover Condition: Very Good. Quantity available: 1. B format paperback. VG. Titan Books, 2011. Soft Cover. Condition: Very Good. First Edition Thus. RETURN OF THE LIVING DEAD. Russo, John. Published by Dale (1978) Used - Softcover Condition: Very Good+ Quantity available: 1. A very uncommon paperback original. Dale, 1978. Mass Market Paperback. Condition: Very Good+. First Edition. Horror. Return of the Living Dead. Russo, John. Published by Dale, New York (1978) Used - Softcover Condition: Near Fine. Quantity available: 1. Traces of edge wear to cover and some faint rubbing of black background of front cover next to spine; spine square without creases. By the author of classic horror story "Night of the Living Dead". "The dead have risen again - and now, the horror is worse than ever before!". Dale, New York, 1978. Mass Market Paperback Original. Condition: Near Fine. First Edition. Return of the Living Dead. John Russo. Published by Dale Books (1978) Used - Softcover Condition: Fine. Quantity available: 1. Paperback original. Russo co-wrote the original Night of the Living Dead with George A. Romero. This is his sequel to the film, and is unrelated to any of Romero's film sequels. A lovely copy, square, tight and clean with no reading creases at all. There is slight yellowing to the pages, as is common from Dale books, and a discreet previous owner's name and date in aquamarine pen on the ffep. All in all, a tasty copy. Dale Books, 1978. Soft cover. Condition: Fine. 1st Edition. RETURN OF THE LIVING DEAD (Very Fine Copy) Russo, John. Published by Arrow, UK (1985) Used - Softcover Condition: As New. Quantity available: 1. Arrow Books, UK. 1985. ISBN 0099426102. Originally priced �1.75. Differs substantially frpom the version published by Hamlyn. First edition thus published after the release of the movie in 1985 and first edition to be issued by Arrow. A very fine, very clean and unread copy with crisp, sharp wrappers, a spine as solid as the bond between super glue sniffers , and pages as clean as a reformed crook's slate. VERY FINE, INDEED. Arrow, UK, 1985. Soft cover. Condition: As New. No Jacket. 1st Edition. Return of the Living Dead. A decade after the first zombie outbreak, a bus crashes in a small American town, killing everyone on board. Local churchgoers rush to the scene to save the living and destroy the dead. But they're too late. A terrifying new plague of living dead has been unleashed. A new horde of victims has been infected. And this time, they are ravenous. In 1968, the classic Night of the Living Dead changed the face of horror. The film was based on the screenplay by George A. Romero and John Russo. The original novel written by John Russo was followed by Return of the Living Dead in 1978, a very different sequel than 1985 film directed by Dan O'Bannon. More from the same. Author. Midnight Night of the Living Dead (Dramatised) Bloodsisters. What listeners say about Return of the Living Dead. Reviews - Please select the tabs below to change the source of reviews. Audible.co.uk reviews. Audible.com reviews. Amazon reviews. Mark Wardropper 01-04-21. Enjoyable Follow Up To The Classic 'Night' I thoroughly enjoyed the story. It was a pretty good continuation of Night Of The Living Dead. It moved at a fast pace and the narrator did a good job with regards to the atmosphere and characters. The only gripes I have are that on teo occasions the audio skipped a second or two and I wish the book had been a few hours longer (purely because I love zombie stories!) Literature / Return of the Living Dead. The story is set a decade after the previous zombie uprising, which was successfully suppressed. Sisters Ann, Karen and Sue Ellen Miller are driven by their extremely religious, emotionally abusive father Bert to the funeral of the youngest daughter of Henry Dorsey, who died suddenly of rheumatic fever, her father drives a metal spike into her skull with a mallet. The Millers and indeed everyone present are followers of the radical Reverend Michaels, who believes the recently dead must have their brains spiked. Not everyone agrees with Michaels' ideas, least of all Sheriff Conan McClellan, who doesn't believe "it" can happen again. A violent bus crash interrupts the funeral, and a suddenly worried Michaels insists that the entire congregation come with him to spike the brains of all of the crash victims before the authorities arrive and stop them. Bert Miller forces his thoroughly horrified daughters, including pregnant Karen, to participate, despite their protests. They don't succeed, having to flee before Sheriff McClellan arrives. Later that night the bus crash victims who didn't have their brains spiked begin to rise at the county morgue and go shuffling off to find victims. One of the first places they attack is the Miller house. Bert Miller gets eaten, but the girls are saved by the arrival of three men and one woman claiming to be State Troopers transporting two prisoners. But there's a problem. Only two of the "Troopers," John Carter and Wade Connely, are in uniform, while the other two, with the rather unlikely names of Flack and Angel, aren't. It quickly becomes apparent to the Miller sisters that there "rescuers" are in fact escaped criminals posing as cops, and the "prisoners" are the real policemen. And that their rescuers turned captors plan on using them as what Flack calls "zombie feed" to keep the ghouls off of them while they make their escape. It isn't to be confused with the film The Return of the Living Dead , or its Novelization, which, confusingly, was also written by Russo, meaning the same author has written two entirely different books with the exact same title. Russo did adapt the novel into a screenplay with some changes (toning down a lot of the sexual elements for one thing), but it was ultimately never made into a film. The book remained out of print for years, making it a highly sought after collector's item. But eventually it was republished in Undead , an omnibus edition with the first film's novelization, featuring an introduction by Russo himself. Literature / Return of the Living Dead. The story is set a decade after the previous zombie uprising, which was successfully suppressed. Sisters Ann, Karen and Sue Ellen Miller are driven by their extremely religious, emotionally abusive father Bert to the funeral of the youngest daughter of Henry Dorsey, who died suddenly of rheumatic fever, her father drives a metal spike into her skull with a mallet. The Millers and indeed everyone present are followers of the radical Reverend Michaels, who believes the recently dead must have their brains spiked. Not everyone agrees with Michaels' ideas, least of all Sheriff Conan McClellan, who doesn't believe "it" can happen again. A violent bus crash interrupts the funeral, and a suddenly worried Michaels insists that the entire congregation come with him to spike the brains of all of the crash victims before the authorities arrive and stop them. Bert Miller forces his thoroughly horrified daughters, including pregnant Karen, to participate, despite their protests. They don't succeed, having to flee before Sheriff McClellan arrives. Later that night the bus crash victims who didn't have their brains spiked begin to rise at the county morgue and go shuffling off to find victims. One of the first places they attack is the Miller house. Bert Miller gets eaten, but the girls are saved by the arrival of three men and one woman claiming to be State Troopers transporting two prisoners. But there's a problem. Only two of the "Troopers," John Carter and Wade Connely, are in uniform, while the other two, with the rather unlikely names of Flack and Angel, aren't. It quickly becomes apparent to the Miller sisters that there "rescuers" are in fact escaped criminals posing as cops, and the "prisoners" are the real policemen. And that their rescuers turned captors plan on using them as what Flack calls "zombie feed" to keep the ghouls off of them while they make their escape. It isn't to be confused with the film The Return of the Living Dead , or its Novelization, which, confusingly, was also written by Russo, meaning the same author has written two entirely different books with the exact same title. Russo did adapt the novel into a screenplay with some changes (toning down a lot of the sexual elements for one thing), but it was ultimately never made into a film. The book remained out of print for years, making it a highly sought after collector's item. But eventually it was republished in Undead , an omnibus edition with the first film's novelization, featuring an introduction by Russo himself. The Return Of the Living Dead LP. There are zombies'and then there are brain-eating zombies! And Return of the Living Dead was the film where brain-eating zombies got their first lease on, er, life. Co-written by John Russo, who was George Romero's writing partner on Night of the Living Dead, this 1985 quasi-sequel introduced more 'splatstick' humor to the horror formula as well as the indelible image of ghouls groaning 'Braainsss' as they shuffle along.
Load more

Recommended publications
  • Between Static and Slime in Poltergeist
    Page 3 The Fall of the House of Meaning: Between Static and Slime in Poltergeist Murray Leeder A good portion of the writing on Poltergeist (1982) has been devoted to trying to untangle the issues of its authorship. Though the film bears a directorial credit from Tobe Hooper, there has been a persistent claim that Steven Spielberg (credited as writer and producer) informally dismissed Hooper early in the process and directed the film himself. Dennis Giles says plainly, “Tobe Hooper is the director of record, but Poltergeist is clearly controlled by Steven Spielberg,” (1) though his only evidence is the motif of white light. The most concerted analysis of the film’s authorship has been by Warren Buckland, who does a staggeringly precise formal analysis of the film against two other Spielberg films and two other Hooper films, ultimately concluding that the official story bears out: Hooper directed the film, and Spielberg took over in post­production. (2) Andrew M. Gordon, however, argues that Poltergeist deserves a place within Spielberg’s canon because so many of his trademarks are present, and because Spielberg himself has talked about it as a complementary piece for E .T.: The Extra­Terrestrial (1982). (3) A similar argument can be made on behalf of Hooper, however, with respect to certain narrative devices and even visual motifs like the perverse clown from The Funhouse (1981). Other scholars have envisioned the film as more of a contested space, caught between different authorial impulses. Tony Williams, for examples, speaks of Spielberg “oppressing any of the differences Tobe Hooper intended,” (4) which is pure speculation, though perhaps one could be forgiven to expect a different view of family life from the director of The Texas Chain Saw Massacre (1974) than that of E.T.
    [Show full text]
  • Curriculum Vitae: Bruce F. Kawin
    October 30, 2020 Curriculum Vitae: Bruce F. Kawin Professor Emeritus of English University of Colorado at Boulder Boulder, CO 80309 Home: 4393 13th St. Boulder, CO 80304 Phone: (303) 449-4845 (land line) — (303) 514-6707 (cell; use this or e-mail until further notice) Fax: (303) 449-2503 E-mail: [email protected] Born: Los Angeles, CA Education: Ph.D.: Cornell University, September 1970 Major: 20th Century British and American Literature Minor: Film History and Aesthetics Thesis: Telling It Again and Again: The Aesthetics of Repetition M.F.A.: Cornell University, June 1969 Major: Creative Writing Minor: Filmmaking Thesis: Slides Summer program in Documentary Film Production, UCLA, August 1968 B.A. cum laude: Columbia College, Columbia University, June 1967 Major: English and Comparative Literature Teaching Experience: Professor of English: English Department, University of Colorado at Boulder, 1975-2015. (Professor Emeritus, 2015-present; Full Professor since 1980; tenure awarded, 1979; Associate Professor, 1977- 80; Assistant Professor, 1975-77.) Taught half-time in Film Studies Program 1975-2006 (two Film Studies courses/year), then one Film Studies course/year through 2014; other film courses after 2006 taught in English Dept. Fields: Modern Literature, Film History and Theory, Creative Writing. Visiting Fellow: Theater Arts Board, College 5, University of California at Santa Cruz, 1980-81. Fields: Film History and Theory. Specialist in Film Analysis: Center for Advanced Film Studies, American Film Institute, 1974. Lecturer in English and Film: English Department, University of California at Riverside, 1973-75. Fields: Modern Literature, Film History, Composition, Women Studies. Assistant Professor of English: English Department, Wells College, 1970-73.
    [Show full text]
  • The BG News June 11, 1986
    Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 6-11-1986 The BG News June 11, 1986 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The BG News June 11, 1986" (1986). BG News (Student Newspaper). 4528. https://scholarworks.bgsu.edu/bg-news/4528 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. THE BG NEWS Vol. 68 Issue 121 Bowling Green, Ohio Wednesday, June 11,1986 Library repairs Fees increase finally step up Rise in cost reflects inflation by Melanie Blalr "The reason for the increase Editor is the University is facing the by Phillip B. Wilson contractors main objective effects of inflation. A large part assistant managing editor there is to prevent further water leakage into the off-campus Most state universities in Ohio of the increase is to meet the commuter center, Eakin said. have increased their educatio- inflation rate," said Richard FOR MORE THAN five years, nal budgets for the 1986-87 aca- Eakin, vice president of Plan- University students have THIS TASK IS TO be accom- plished by: rerouting the sewer demic year. Bowling Green ning and Budget. walked by Jerome Library and State University is no exception. The additional funds gener- probably wondered if the step systems, regrading the areas ated by the increase will be used and patio area would ever be east of the building, contracting The Board of Trustees ap- a new exterior entrance, and proved May 9 a $93.6 million not only to meet rising costs but fixed.
    [Show full text]
  • The Problem Body Projecting Disability on Film
    The Problem Body The Problem Body Projecting Disability on Film - E d i te d B y - Sally Chivers and Nicole Markotic’ T h e O h i O S T a T e U n i v e r S i T y P r e ss / C O l U m b us Copyright © 2010 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data The problem body : projecting disability on film / edited by Sally Chivers and Nicole Markotic´. p. cm. Includes bibliographical references and index. ISBN 978-0-8142-1124-3 (cloth : alk. paper)—ISBN 978-0-8142-9222-8 (cd-rom) 1. People with disabilities in motion pictures. 2. Human body in motion pictures. 3. Sociology of disability. I. Chivers, Sally, 1972– II. Markotic´, Nicole. PN1995.9.H34P76 2010 791.43’6561—dc22 2009052781 This book is available in the following editions: Cloth (ISBN 978-0-8142-1124-3) CD-ROM (ISBN 978-0-8142-9222-8) Cover art: Anna Stave and Steven C. Stewart in It is fine! EVERYTHING IS FINE!, a film written by Steven C. Stewart and directed by Crispin Hellion Glover and David Brothers, Copyright Volcanic Eruptions/CrispinGlover.com, 2007. Photo by David Brothers. An earlier version of Johnson Cheu’s essay, “Seeing Blindness On-Screen: The Blind, Female Gaze,” was previously published as “Seeing Blindness on Screen” in The Journal of Popular Culture 42.3 (Wiley-Blackwell). Used by permission of the publisher. Michael Davidson’s essay, “Phantom Limbs: Film Noir and the Disabled Body,” was previously published under the same title in GLQ: A Journal of Lesbian and Gay Studies, Volume 9, no.
    [Show full text]
  • The Cultural Ambivalences of Family in the Cinema of Steven Spielberg
    ‘Steven Phone Home’ The Cultural Ambivalences of Family in the Cinema of Steven Spielberg Suzanne Stuart PhD Thesis University of New South Wales 2011 Contents Preface and Acknowledgements iii Introduction: Family Consumption 1 • Spielberg’s Families in the Twilight Zone • Minority Report? Spielberg and the Family in Critical Literature • Close Encounters of the Familial Kind Part One: The Private Sphere of Hearth and Home 1. The Hook within the (Impossible) Family: Standing on the Outside, Looking In – Ideology, Fantasy and Desire 51 • ‘I Fought the Law, and the Law Won’: Catch Me if You Can • ‘Freud’s Robots’: Artificial Intelligence: A.I. • Conclusion: Artificial Resolution 2. The Lost World of ‘Home’: Suburbia, Family Ghosts, and Alienation in Domesticity 106 • Domestic Off-Screen Space in Duel: ‘not the boss in my house’ • Alienation in E.T.: The Extra-Terrestrial – The Suburbs Become Home • ‘The grass grows greener on every side’: Avoiding Binaries in the Fantasy Suburb of Poltergeist • ‘They’re here’: The Penetration of the Public/Private Home in Poltergeist • The Gendered Home - ‘Ask Dad’ • Implosion: The Death Drive of the Suburban Home • Conclusion: Not Quite Home Yet Part Two: Rhetorical Families in the Public Sphere 3. A Leap of Faith: What Lies Beneath the Word of the Father? Representing God, Religion and the Family 162 • Close Encounters of the Third Kind: Melodramatic Masculinity in (Domestic) Space – Mashed Potatoes and Spirituality • The Color Purple and the Shadow of Incest – Obscene Fathers and Father-Gods • A Radio to God? Raiders of the Lost Ark and Indiana Jones and the Last Crusade: Postmodernism, Religious Nostalgia and the (Impossible) Father- God • Conclusion: Chasms and Symbols 4.
    [Show full text]
  • L I V E M U S
    TOBE HOOPER CINEMA NOTES AT A GLANCE MASTER OF THE MACABRE The current cinema programme at Triskel Christchurch is as ........................................................................................................................................................... eclectic as ever, highlighting the finest in current theatrical releases Sun 16 - Wed 19 September When The Texas Chainsaw Massacre was released in 1974, horror cinema as well as a selection of classics I am sure that you will enjoy. Cold War changed forever and the world was introduced to one of genre cinema’s most LIVE MUSIC Lucky esoteric and outlandish voices. We are delighted to present this tribute to the late director Tobe Hooper, who passed away in August of last year. There is the Polish filmCold War from the Academy Award winning ........................................................................................................................................................... director of Ida; the delightful American dramas Lucky (starring Sun 23 - Wed 26 September CAROLINE KAY Harry Dean Stanton), The Miseducation of Cameron Post and Cover design by Mark Kenny Get a season ticket to see all four films for €28 full price / €24 with membership The Miseducation Of Cameron Post NOTES AND OTHER STUFF - WITH TOM LEES ON PIANO Columbus; a special screening of the Italian picture Dogman (plus A Mother Brings Her Son To Be Shot Along with the films listed below, please note that Eggshells, Hooper’s once-lost Sat 15 Sept | 8pm a live-streamed Q&A with director Matteo Garrone); and three debut feature, screens on Wed 17 Oct (details found elsewhere in this brochure). exciting documentaries from Ireland (A Mother Brings Her Son ........................................................................................................................................................... To Be Shot), Britain (Matangi / Maya / M.I.A.) and France (the Sun 30 September - Wed 3 October ALTERNATIVE HISTORY Academy Award nominated Faces Places).
    [Show full text]
  • Selling the Splat Pack: the Dvd Revolution and the American Horror Film
    SELLING THE SPLAT PACK: THE DVD REVOLUTION AND THE AMERICAN HORROR FILM Mark Bernard A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2010 Committee: Dr. Cynthia Baron, Advisor Dr. Scott A. Magelssen Graduate Faculty Representative Dr. Paul McDonald Dr. Maisha Wester ii ABSTRACT Dr. Cynthia Baron, Advisor In 2006, journalists began writing about the emergence of a group of young filmmakers who specialized in horror films featuring torture and graphic violence. Because of their gory and bloody movies, these directors came to be known as “the Splat Pack,” and they were depicted by the press as subversive outsiders rebelling against the Hollywood machine. However, what many discussions of the Splat Pack ignore is how the success of this group of directors was brought about and enabled by the industrial structure of Hollywood at the middle of the first decade of the twenty-first century. Drawing from political economy methodology, this study seeks to understand and illuminate the industrial changes and realignments that gave rise to the Splat Pack, first by looking at how industrial changes have affected the content of horror films of the past, and secondly by examining how the advent of DVD technology made way for the gory, “Unrated” films of the Splat Pack. DVD played a major role in the rise of the Splat Pack by changing the way horror films were presented to their potential audiences and by leading to an industry acceptance of “Unrated” films. With this in mind, this study then turns to an analysis of several key films directed by the Splat Pack and uses the commodity form of the DVD as a lens through which to interpret these films.
    [Show full text]
  • Cinema Is a Haunted House
    Cinema is a Haunted House by Murray Leeder B.A. (Honours) English, University of Calgary A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts in Film Studies © Murray Leeder April 2006 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Library and Bibliotheque et Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-18278-9 Our file Notre reference ISBN: 978-0-494-18278-9 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce,Canada de reproduire, publier, archiver, publish, archive, preserve, conserve,sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet,distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform,et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation.
    [Show full text]
  • John Mccarty
    John McCarty: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: McCarty, John, 1944- Title: John McCarty Papers Dates: 1912-2010 Extent: 15 document boxes (6.30 linear feet), 1 oversize box (osb) Abstract: The John McCarty Papers contain film stills, clippings, film and fan magazines, pressbooks, and McCarthy's writings which document the evolution of the horror and thriller film genres. Call Number: Film Collection FI-055 Language: English and Spanish Access: Open for research Administrative Information Acquisition: Gifts, 2011-2012 (10-12-012-G, 11-03-008G) Processed by: Michael Rodney and Amy Armstrong, 2012 Repository: The University of Texas at Austin, Harry Ransom Center McCarty, John, 1944- Film Collection FI-055 Biographical Sketch John McCarty was born in Albany, New York, in 1944. He graduated with a communications degree in broadcasting and film from Boston University in 1966. After serving as a Peace Corps volunteer in Bogotá, Columbia, McCarty lived in Hollywood from 1968 to 1970, and wrote several unproduced scripts for the television series Family Affair and Death Valley Days. After working in broadcasting and as a copywriter for General Electric Company, McCarty published his first book, You're on Open Line: Inside the Wacky World of Late-Night Talk Radio, in 1978. He became a full time author in 1983, and has written over twenty non-fiction books on business, film, and the entertainment industry. He is often credited with coining the phrase "splatter film" to describe the subgenre of bloody horror film that graphically portrays violence and gore, when his book Splatter Movies: Breaking the Last Taboo of the Screen (1981) was published.
    [Show full text]
  • Tobe Hooper (Estados Unidos, 1943-2017)
    cine Tobe Hooper SCRUPULOS Volumen 6 Número 1 Enero a junio (Estados Unidos, 2018 1943-2017) “Tienes que enviar una sensación 77 física a través del terror. Me gusta hacerlo más rápido y más rápido, golpear hasta que me meta en ti” César Pita1, Juan Carlos Martínez2, Resumen La obra de Tobe Hooper quizás haya quedado deslucida por las fallas evidentes de sus últimos trabajos, pero nadie puede negar que se trata de uno de los grandes revitalizadores del terror moderno. Sus atmósferas opresivas e insoportables, aunadas al uso de una banda sonora chirriante, lo convierten en uno de los me- jores directores de horror. Abstract Tobe Hooper’s work may have been tarnished by the obvious flaws of his latest films, but nobody can deny that he is one of the great modern horror revitalizer. His oppressive and excruciating atmospheres, coupled with use of a screeching soundtrack, make him one of the best horror directors. Palabras clave Tobe Hooper; cine de terror; cine gore; filmografía; Estados Unidos; televisión Key words Tobe Hooper; terror cinema; gore cinema; filmography; United States; television DOI: https://doi.org/ 10.19083/cinescrupulos. v6i1.1420 Recibido: 4 de diciembre de 2017 Aceptado: 1. Profesor a tiempo completo, Facultad de Comunicaciones de la Universidad Peruana de Ciencias Aplicadas, e-mail: [email protected] 8 de marzo de 2018 2. Docente a tiempo parcial, Facultad de Ciencias y Artes de la Comunicación de la Pon- Publicado: tificia Universidad Católica del Perú, e-mail: [email protected] 4 de junio de 2018 The heisters Estados Unidos, 1964.
    [Show full text]
  • Identifying Classic Films by the TV Numbers Data of a Survey Spanning 2018-2020
    Identifying Classic Films by the TV Numbers Data of a Survey Spanning 2018-2020 Each entry below consists of the name of a film, the year of its release, an abbreviation of the network(s) that presented it, and the number of its overall presentations. Networks and their respective abbreviations are: American Movie Classics (AMC) Paramount Television Network (PARA) BBC America (BBCA) Showtime (SHOW) FREE (FREE) STARZ (STARZ) FX Movie Channel (FXM) SYFY (SYFY) Home Box Office (HBO) Turner Broadcasting System (TBS) IFC (IFC) THIS TV (THIS) MOVIES! TV Network (MOVIES) TNT (TNT) Ovation TV (OVA) Turner Classic Movies (TCM) 1989 150 Films 4,958 Presentations 33,1 Average A Deadly Silence (1989) MOVIES 1 A Dry White Season (1989) TCM 4 A Nightmare on Elm Street 5: The Dream Child (1989) SYFY 7 All Dogs Go to Heaven (1989) THIS 7 Always (1989) STARZ 69 American Ninja 3: Blood Hunt (1989) STARZ 2 An Innocent Man (1989) HBO 5 Back to the Future Part II (1989) MAX/STARZ/SHOW/SYFY 272 Batman (1989) SYFY/TNT/AMC/IFC 24 Best of the Best (1989) STARZ 16 Bill & Ted’s Excellent Adventure (1989) STARZ 140 Black Rain (1989) SHOW/MOVIES/MAX 85 Blind Fury (1989) THIS 15 1 [email protected] Born on the Fourth of July (1989) MAX/BBCA/OVA/STARZ/HBO 201 Breaking In (1989) THIS 5 Brewster’s Millions (1989) STARZ 2 Bridge to Silence (1989) THIS 9 Cabin Fever (1989) MAX 2 Casualties of War (1989) SHOW 3 Chances Are (1989) MOVIES 9 Chattahoochi (1989) THIS 9 Cheetah (1989) TCM 1 Cinema Paradise (1989) MAX 3 Coal Miner’s Daughter (1989) STARZ 1 Collision
    [Show full text]
  • Gender in the Slasher Film Genre Brandon Bosch University of Nebraska-Lincoln, [email protected]
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sociology Department, Faculty Publications Sociology, Department of 2016 Gender in the Slasher Film Genre Brandon Bosch University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/sociologyfacpub Part of the Feminist, Gender, and Sexuality Studies Commons, Gender and Sexuality Commons, Gender, Race, Sexuality, and Ethnicity in Communication Commons, Mass Communication Commons, Other Film and Media Studies Commons, and the Sociology of Culture Commons Bosch, Brandon, "Gender in the Slasher Film Genre" (2016). Sociology Department, Faculty Publications. 333. http://digitalcommons.unl.edu/sociologyfacpub/333 This Article is brought to you for free and open access by the Sociology, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sociology Department, Faculty Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. It slices, it dices, it has entertained and scared audiences for decades—it’s the slasher film. Despite being dismissed by critics, the slasher film refuses to go away. Even if you don’t go to these movies, they are hard to escape, as every Halloween at least a few trick or treaters will dress up as a character from these movies. Given the longevity and popularity of this genre, I want to spend today talking about how these films often represent gender. Scholars have also studied slasher films, and have provided a more formal definition than the one that I just provided. Molitor and Spolsky (1993) formally define the slasher film as follows: A commercially‐released, feature‐length film containing suspense‐evoking scenes in which an antagonist who is usually a male acting alone, attacks one or more victims.
    [Show full text]