PROGRAMA 2013 AGO 07 V4 Sem Master.Indd

Total Page:16

File Type:pdf, Size:1020Kb

PROGRAMA 2013 AGO 07 V4 Sem Master.Indd PATROCINADOR PRINCIPAL PROGRAMA PROGRAMME AF_ADV_MOTELX_YORN_148X210.pdf 6 13/08/26 11:18 C M Y CM MY CY CMY K .1.1 bilhetebilhete porpor diadia .. VálidoVálido apenasapenas parapara BilhetesBilhetes NormaisNormais .. NãoNão acumulávelacumulável comcom outrosoutros descontosdescontos .. NoNo limitelimite dosdos lugareslugares disponíveisdisponíveis - 2 Consulta Consulta- oo regulamentoregulamento emem yorn.netyorn.net ÍNDICE CONTENTS .EATEN ALIVE » p.5 .THE TEXAS CHAINSAW MASSACRE 2 EDITORIAL .TOOLBOX MURDERS » p.6 SERVIÇO DE QUARTO » p.50 ROOM SERVICE RETRO HIDEO NAKATA HIDEO NAKATA RETRO .ABCs OF DEATH, THE .RING .ABDUCTEE .CHAOS .BATTERY, THE .DARK WATER .BELENGGU .BYZANTIUM » p.54 .CHAINED QUARTO PERDIDO - OS CENSURADOS .CHEAP THRILLS LOST ROOM - THE CENSORED .COMPLEX, THE .CRIME DE ALDEIA VELHA .CONJURING, THE .A PROMESSA .COUNTDOWN .DARK TOUCH » p.57 .DESERT, THE PRÉMIO YORN MOTELx .GIRLS AGAINST BOYS MELHOR CURTA DE TERROR PORTUGUESA 2013 .GOOSE BUMPS YORN MOTELx AWARD .HELL BABY BEST PORTUGUESE HORROR SHORT FILM 2013 .HOME SWEET HOME .IT´S A BEAUTIFUL DAY » p.62 .JOHN DIES AT THE END LOBO MAU: O ESTRANHO MUNDO .KISS OF THE DAMNED DE RAY HARRYHAUSEN .LORDS OF SALEM, THE BIG BAD WOLF: THE STRANGE WORLD .MANIAC OF RAY HARRYHAUSEN .OPEN GRAVE .MIGHTY JOE YOUNG .PAINLESS .20 MILLION MILES TO EARTH .V/H/S/2 .JASON AND THE ARGONAUTS .WE ARE WHAT WE ARE .ONE MILLION YEARS B.C. .WITHER .YOU´RE NEXT » p.64 » p.36 CURTAS INTERNACIONAIS INTERNATIONAL SHORT FILMS DOC TERROR DOC HORROR .DESPITE THE GODS .ROOM 237 » p.66 .SHOOTING BIGFOOT EVENTOS EVENTS » p.42 » p.68 CULTO DOS MESTRES VIVOS EQUIPAS E INFORMAÇÕES CULT OF THE LIVING MASTERS TEAMS AND INFORMATIONS TOBE HOOPER » p.70 .EGGSHELLS .THE TEXAS CHAIN SAW MASSACRE AGRADECIMENTOS ACKNOWLEDGMENTS - 3 -- - Caros hóspedes, Dear guests, Em 2013, o MOTELx homenageia pela primeira vez, In 2013, for the first time, MOTELx will pay tribute to em simultâneo, três grandes nomes do cinema de ter- three major names of horror cinema. The guest of ror. O convidado de honra é o mestre norte-americano, honour is American master Tobe Hooper, the creator Tobe Hooper, responsável pelo clássico «Massacre no of «The Texas Chain Saw Massacre». MOTELx also Texas». Damos também as boas-vindas ao primeiro welcomes its first guest from the Far East, the film- convidado do Oriente, a figura que transformou o gé- maker that transformed the genre in Asia and, later, nero na Ásia e, subsequentemente, no mundo inteiro: in the rest of the world: Hideo Nakata, the director o realizador de «Ring», Hideo Nakata. Finalmente, a of «Ring». Finally, the section Big Bad Wolf, in a secção Lobo Mau associa-se à Cinemateca Júnior partnership with Cinemateca Júnior, presents an para homenagear o recentemente desaparecido Ray homage to the late Ray Harryhausen. Harryhausen. This is also the year of female horror at MOTELx. Este é também o ano do terror feminino no MOTELx. É We are very pleased to welcome feminine visions com grande agrado que acolhemos visões femininas into a genre dominated by the male gender. This num género que tem sido, desde sempre, dominado year, Room Service will present five films directed pelo sexo masculino. Este ano, o Serviço de Quarto by women from three continents, and Doc Terror conta com cinco filmes realizados por mulheres de features a sixth film, about Jennifer Lynch’s três continentes e o Doc Terror acrescenta um sexto, Bollywood odyssey. sobre a odisseia de Jennifer Lynch em Bollywood. Inspired by Harryhausen, there will be stop- Teremos workshops de stop-motion para os mais no- motion workshops for the young (at Palácio Foz vos (no Palácio Foz - Restauradores) e para os mais - Restauradores) and for the less young (at Hotel velhos (no Hotel Florida, um novo parceiro do festival) Florida). The Take it Easy team, responsible for relacionados com Harryhausen. A equipa da Take it MOTELx’s spots since its first edition, made the Easy, responsável pelos spots do MOTELx desde MOTELx spot into an «Alien»-inspired short film a primeira edição, este ano transformou o spot MOTE- called «Dédalo». This saga will have a special focus Lx numa curta-metragem de homenagem a «Alien», at the festival, through a masterclass, workshops, intitulada «Dédalo». Esta epopeia estará em destaque and an exhibition. In 2013, the production company no MOTELx através de uma masterclass, workshops proposed an homage to «Alien», by shooting a short-film e uma exposição. Por fim, a produtora britânica Ne’er entitled «Dédalo». Finally, the British independent Do Well Films, responsável por várias curtas exibidas production company Ne’er Do Well Films, behind no festival, propõe-nos uma masterclass com o subtí- several shorts screened at the festival, will present tulo “Guerrilla Filmmaking in Times of Austerity”. a masterclass subtitled “Guerrilla Filmmaking in Times of Austerity”. Falta referir a secção competitiva do festival, que este ano se designa Prémio Yorn MOTELx - Melhor Curta We will end by mentioning the competitive section de Terror Portuguesa. Os nove candidatos partilham of the festival, which this year will be called Yorn temáticas e preocupações, e regista-se, pela primei- MOTELx Award - Best Portuguese Horror Short Film. ra vez, a realidade portuguesa a influenciar as nar- The nine candidates share themes and concerns, rativas. O terror português está a mudar. Não faltam and we can register, for the first time, the Portuguese razões para passarem cinco dias no Motel de Lisboa, reality influencing the narratives. Portuguese horror para assistirem a uma edição que se prevê histórica. is taking shape. There are, indeed, many reasons to check-in for five days at Lisbon’s Motel, to be part of Bem-vindos! an edition that will be truly remarkable. Welcome! - 5 - SERVIÇO DE QUARTO ROOM SERVICE Na secção com as melhores e mais aguardadas The section that gathers the best and most antici- longas-metragens de terror dos últimos dois anos pated horror features produced in the last two years destacam-se duas antologias: «ABCs of Death, includes two anthology films: «ABCs of Death, The» The», a morte de acordo com as letras do alfabeto, and the second tape of «V/H/S», the big midnight e o segundo tomo de «V/H/S», o grande sucesso da success of MOTELx 2012. Horror made by women meia-noite do MOTELx 2012. O terror no feminino is the obvious highlight in this section, where we salienta-se naturalmente na selecção, onde encon- can find the names of five female directors: Jen- tramos filmes assinados por cinco mulheres: Jenni- nifer Lynch, Xan Cassavetes, Marina de Van, Kayoko fer Lynch, Xan Cassavetes, Marina de Van, Kayoko Asakura, and Upi, and we can also add Angela Bet- Asakura e Upi, podendo-se ainda acrescentar os no- tis and Hélène Cattet, for their work on «The ABCs mes de Angela Bettis e Hélène Cattet, que participam of Death». em «The ABCs of Death». Vamos ter obras de nomes consagrados, como o novo We will have the presence of celebrated names, with do japonês Hideo Nakata, «The Complex», e «Byzan- the new film from Japanese director Hideo Nakata, tium», o regresso do irlandês Neil Jordan à temática «The Complex», and «Byzantium», marking the return dos vampiros, mas também títulos fortes da nova of Neil Jordan to vampire films, but also strong works geração, incluindo «The Conjuring», o muito espe- from the new generation, including «The Conjuring», rado novo filme de James Wan («Saw», «Insidious») the film everyone talks about, from James Wan ou «The Lords of Salem», do rocker Rob Zombie. («Saw», «Insidious») or «The Lords of Salem», by the Destaca-se também «Painless», a primeira longa- rocker Rob Zombie. Another highlight is «Painless», -metragem do espanhol Juan Carlos Medina, Méliès the first feature by Spanish Juan Carlos Medina, win- d’Argent em Estrasburgo, uma co-produção com par- ner of the Silver Méliès at Strasbourg, a co-produc- ticipação da Fado Filmes de Luís Galvão Teles. Mas há tion with the collaboration of Luís Galvao Teles’ Fado mais, uma grande diversidade de propostas, como os Filmes. But there’s more, a great diversity of films, indies «The Battery» e «The Desert», onde os zombies such as the indies «The Battery» and «The Desert», são meros panos de fundo para explorar relações en- where zombies are a mere background to explore tre personagens, e uma selecção forte da Ásia, com relationships between characters, and a strong Asian dois filmes atípicos do Japão, um da Indonésia selection, with two atypical films from Japan, one e a presença sempre regular da Tailândia. from Indonesia, and the always present Thailand. .ABCs OF DEATH, THE (EUA/NOVA ZELÂNDIA | USA/ .HELL BABY (EUA | USA, 2013) NEW ZEALAND, 2012) .HOME SWEET HOME (CANADÁ/FRANÇA | CANADA/ .ABDUCTEE (JAPÃO | JAPAN, 2013) FRANCE, 2012) .BATTERY, THE (EUA | USA, 2012) .IT´S A BEAUTIFUL DAY (JAPÃO/EUA | JAPAN/USA, .BELENGGU (INDONÉSIA | INDONESIA, 2012) 2013) .BYZANTIUM (IRLANDA/REINO UNIDO | IRELAND/ .JOHN DIES AT THE END (EUA | USA, 2012) UK, 2012) .KISS OF THE DAMNED (EUA | USA, 2012) .CHAINED (CANADÁ | CANADA, 2012) .LORDS OF SALEM, THE (EUA/REINO UNIDO/CANADÁ .CHEAP THRILLS (EUA | USA, 2013) | USA/UK/CANADA, 2012) .COMPLEX, THE (JAPÃO | JAPAN, 2013) .MANIAC (FRANÇA | FRANCE, 2012) .CONJURING, THE (EUA | USA, 2013) .OPEN GRAVE (EUA | USA, 2013) .COUNTDOWN (TAILÂNDIA | THAILAND, 2012) .PAINLESS (ESPANHA/FRANÇA/PORTUGAL | SPAIN/ .DARK TOUCH (FRANÇA/IRLANDA/SUÉCIA | FRANCE/ FRANCE/PORTUGAL, 2012) IRELAND/SWEDEN, 2013) .V/H/S/2 (EUA | USA, 2013) .DESERT, THE (ARGENTINA, 2013) .WE ARE WHAT WE ARE (EUA | USA, 2013) .GIRLS AGAINST BOYS (EUA | USA, 2012) .WITHER (SUÉCIA | SWEDEN, 2012) .GOOSE BUMPS (JAPÃO | JAPAN, 2012) .YOU´RE NEXT (EUA | USA, 2011) - 6 - SERVIÇO DE QUARTO ROOM SERVICE TheSERVIÇO DE QUARTOABCs ROOM SERVICE Títuloof Death (PAÍS | COUNTRY, 0000)(EUA/Nova Zelândia | USA/New Zealand, 2012) REALIZAÇÃO DIRECTOR Lorem26 cineastas.
Recommended publications
  • Audition How Does the 1999 Film Relate to the Issues That Japanese Men and Women Face in Relation to Romantic Pairing?
    University of Roskilde Audition How does the 1999 film relate to the issues that Japanese men and women face in relation to romantic pairing? Supervisor: Björn Hakon Lingner Group members: Student number: Anna Klis 62507 Avin Mesbah 61779 Dejan Omerbasic 55201 Mads F. B. Hansen 64518 In-depth project Characters: 148,702 Fall 2018 University of Roskilde Table of content Problem Area ........................................................................................................................................... 7 Problem Formulation .............................................................................................................................. 9 Motivation ............................................................................................................................................... 9 Delimitation ........................................................................................................................................... 10 Method .................................................................................................................................................. 11 Theory .................................................................................................................................................... 12 Literature review ............................................................................................................................... 12 Social Exchange Theory ....................................................................................................................
    [Show full text]
  • Regressive Femininity in American J-Horror Remakes
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2015 Lost in Translation: Regressive Femininity in American J-Horror Remakes Matthew Ducca Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/912 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] LOST IN TRANSLATION: REGRESSIVE FEMININITY IN AMERICAN J-HORROR REMAKES by Matthew Ducca A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2015 © 2015 MATTHEW J. DUCCA All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the dissertation requirement for the degree of Master of Arts. Professor Edward P. Miller__________________________ _____________________ _______________________________________________ Date Thesis Advisor Professor Matthew K. Gold_________________________ ______________________ _______________________________________________ Date Executive Officer THE CITY UNIVERSITY OF NEW YORK iii Abstract Lost in Translation: Regressive Femininity in American J-Horror Remakes by Matthew Ducca Advisor: Professor Edward Miller This thesis examines the ways in which the representation of female characters changes between Japanese horror films and the subsequent American remakes. The success of Gore Verbinski’s The Ring (2002) sparked a mass American interest in Japan’s contemporary horror cinema, resulting in a myriad of remakes to saturate the market.
    [Show full text]
  • The Monster-Child in Japanese Horror Film of the Lost Decade, Jessica
    The Asian Conference on Film and Documentary 2013 Official Conference Proceedings Osaka, Japan “Our Fear Has Taken on a Life of its Own”: The Monster-Child in Japanese Horror Film of The Lost Decade, Jessica Balanzategui University of Melbourne, Australia 0168 The Asian Conference on Film and Documentary 2013 Official Conference Proceedings 2013 Abstract The monstrous child of Japanese horror film has become perhaps the most transnationally recognisable and influential horror trope of the past decade following the release of “Ring” (Hideo Nakata, 1999), Japan’s most commercially successful horror film. Through an analysis of “Ring”, “The Grudge” (Takashi Shimizu, 2002), “Dark Water” (Nakata, 2002), and “One Missed Call” (Takashi Miike, 2003), I argue that the monstrous children central to J-horror film of the millenial transition function as anomalies within the symbolic framework of Japan’s national identity. These films were released in the aftermath of the collapse of Japan’s bubble economy in the early 1990s — a period known in Japan as ‘The Lost Decade’— and also at the liminal juncture represented by the turn of the millennium. At this cultural moment when the unity of national meaning seems to waver, the monstrous child embodies the threat of symbolic collapse. In alignment with Noël Carroll’s definition of the monster, these children are categorically interstitial and formless: Sadako, Toshio, Mitsuko and Mimiko invoke the wholesale destruction of the boundaries which separate victim/villain, past/present and corporeal/spectral. Through their disturbance to ontological categories, these children function as monstrous incarnations of the Lacanian gaze. As opposed to allowing the viewer a sense of illusory mastery, the J- horror monster-child figures a disruption to the spectator’s sense of power over the films’ diegetic worlds.
    [Show full text]
  • The Undead Subject of Lost Decade Japanese Horror Cinema a Thesis
    The Undead Subject of Lost Decade Japanese Horror Cinema A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Jordan G. Parrish August 2017 © 2017 Jordan G. Parrish. All Rights Reserved. 2 This thesis titled The Undead Subject of Lost Decade Japanese Horror Cinema by JORDAN G. PARRISH has been approved for the Film Division and the College of Fine Arts by Ofer Eliaz Assistant Professor of Film Studies Matthew R. Shaftel Dean, College of Fine Arts 3 Abstract PARRISH, JORDAN G., M.A., August 2017, Film Studies The Undead Subject of Lost Decade Japanese Horror Cinema Director of Thesis: Ofer Eliaz This thesis argues that Japanese Horror films released around the turn of the twenty- first century define a new mode of subjectivity: “undead subjectivity.” Exploring the implications of this concept, this study locates the undead subject’s origins within a Japanese recession, decimated social conditions, and a period outside of historical progression known as the “Lost Decade.” It suggests that the form and content of “J- Horror” films reveal a problematic visual structure haunting the nation in relation to the gaze of a structural father figure. In doing so, this thesis purports that these films interrogate psychoanalytic concepts such as the gaze, the big Other, and the death drive. This study posits themes, philosophies, and formal elements within J-Horror films that place the undead subject within a worldly depiction of the afterlife, the films repeatedly ending on an image of an emptied-out Japan invisible to the big Other’s gaze.
    [Show full text]
  • Horacio Quiroga in Dialogue with Japanese Horror Cinema
    Haunted Screens: Horacio Quiroga in Dialogue with Japanese Horror Cinema ______________________________________________ GABRIEL ELJAIEK-RODRÍGUEZ THE NEW SCHOOL OF ATLANTA Abstract In this article, I will argue that ghosts are used, in two very different contexts and cases, as ways to represent and discuss anxieties about the advances of science and the uses of technology, at the same time that they express a cautious fascination with these unstoppable advances. This concern with the ability of ghosts to move and adapt to technological change is not only about what happens in the films but is also related to what happens outside the films, that is, the viral expansion of ghosts stories and filmic narratives as ways to talk about social and political issues. I will work primarily with two short stories by Uruguayan writer Horacio Quiroga, “The Specter” and “The Puritan”, that I will place in dialog with two Japanese movies, The Ring by Hideo Nakata and Pulse by Kiyoshi Kurosawa, tracing their possible connections and interpolations. Keywords: Horacio Quiroga, Japanese horror, Ghosts in cinema, Logic of sense Since the beginning of the twentieth century, writers and filmmakers of multiple nationalities have dramatized similarities between ghosts and cinema. Such comparisons are not difficult to imagine: both the ghostly and the cinematic appear and disappear, both are intangible projections, and both gesture towards immortality. Early twentieth-century Uruguayan writer Horacio Quiroga deals with the related idea of cinema as a haunted art in four short stories “Miss Dorothy Phillips, mi esposa” (“Miss Dorothy Phillips, my wife”, 1919), “El espectro” (“The Specter”, 1921), “El puritano” (“The Puritan”, 1926) and “El vampiro” (“The Vampire”, 1927).
    [Show full text]
  • The "Ring" Master: Interview with Hideo Nakata – Offscreen
    The "Ring" Master: Interview with Hideo Nakata Hideo Nakata on his Japanese horror sensation by Donato Totaro ! Volume 4, Issue 3 / July 2000 ⏱ 12 minutes (3000 words) Offscreen: How did you get your start in film, and are you a horror fan? Hideo Nakata: It started in university when I moved from the countryside to Tokyo and during my studies watched something like 300 films a year. I went to work for Nikkatsu studios after passing my exams, and worked there for 7 years as an assistant director. Meanwhile, during my practice, I was not exactly specializing or longing for horror films. During my high school days I can remember watching The Exorcist, and other horror films that really impressed me, but I would not say it was my choice to exclusively work in horror. Offscreen: Your first feature is Ghost Actress, which I have not seen. Can you talk a bit about your move into features and whether that film is at all, stylistically or in tone, similar to the Ring films? Hideo Nakata: Yes, some people tell me that Ghost Actress is very similar to my later films. However, Takahashi, who co-wrote the scenario, said that Ghost Actress was not frightening at all, but certainly you have the main heroine, Shujinko, who in Ghost Actress shows her whole face, but even so the image was maybe not very powerful. We have the opposite in the Ring film, where we have this very evil character who shows only one eye and her hair, and I think that is the most powerful image regarding these devilish characters.
    [Show full text]
  • Hideo Nakata
    Hideo Nakata Japans nye mester i kolde, våde gys “Hvem begyndte historien med? Den be­ for McCarthyismen. Joseph Losey: rLhe Man gynder aldrig rigtigt med nogen bestemt. With Four Names (Joseph Losey: Yottsu no Folk bliver nervøse, og rygterne tager fart.” Na o Motsu Otoko, 1998) var adskillige år Således lyder det i den skelsættende japan­ undervejs, hvor Nakata mere eller mindre ske horrorfilm Ring (Ringu, 1998) og atter pendlede mellem England og Japan, hvor­ en gang i efterfølgeren Ring 2 (Ringu 2, fra han fik finansieret sin portrætfilm ved 1999). Når det gælder nyere asiatisk horror, forskellige instruktør jobs på bl.a. erotiske er der dog ingen tvivl om, hvor succeshi­ film. storien begynder - nemlig med instruk­ Ghost Actress (Joyü-re, 1996) blev lige­ tøren af samme to lavmælte gys, Hideo ledes lavet for at finansiere Losey-filmen, Nakata (f. 1961). I årene op til Rings over­ men dens uventede succes skulle vise sig raskende og anselige succes var bevægelsen skæbnesvanger for instruktøren. Den lavt i ny asiatisk film en mere eller mindre budgetterede Ghost Actress foregår på et velbevaret hemmelighed blandt publikum film-set, hvor et spøgelse begynder at ma­ på filmfestivaler og diverse genrefilm-buffs terialisere sig på de daglige rushes. Både verden over. Siden er der blevet drevet rov­ tematisk og visuelt indeholder den mange drift på regionens genrefilm, med et utal af de detaljer, der blev videreudviklet med af amerikanske genindspilninger som den Ring. sikre indikator for lukrativiteten. Seriøs forbandelse. Det kan hævdes, at Fra porno til spøgelseshistorier. Nakata bevægelsen væk fra 1990 ernes selvbevidste har en længere karriere som instruktøras­ tungen-lige-i-munden-horror begyndte sistent for Nikkatsu-studiets højest profile­ med Hideo Nakatas Ring, der peger lige rede porno- og erotica-instruktør, Masura frem mod Daniel Myrick og Eduardo Sán­ Konuma, bag sig, tilbage i 1980 erne.
    [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]
  • America's Largest Japanese Film Fest Announces 27 NYC Premieres For
    Media Contacts: Shannon Jowett, [email protected], 212-715-1205 Kuniko Shiobara, [email protected], 212-715-1249 America’s Largest Japanese Film Fest Announces 27 NYC Premieres for 8th Installment JAPAN CUTS: The New York Festival of Contemporary Japanese Cinema July 10-20, 2014 at Japan Society New York, NY -- North America’s largest showcase of Japanese film and “One of the loopiest… and least predictable of New York’s film festivals” (New York Magazine), JAPAN CUTS: The New York Festival of Contemporary Japanese Cinema returns for its eighth annual installment. Running July 10-20 and screening 27 features with 8 special guests, JAPAN CUTS 2014 encompasses a thrilling cross section of cinephilic genre oddities, sword-swinging period action, profound documentaries, cathartic melodramas, warped comedies and cutting-edge arthouse cinema made in and around Japan. Guests include superstar performers and independent auteurs opening up in rare Q&As and dynamic parties rocking Japan Society’s historic theater and waterfall atrium. As in past years, the festival dovetails with the 13th New York Asian Film Festival (NYAFF), co-presenting 13 titles in the JAPAN CUTS lineup July 10-13. JAPAN CUTS 2014 again earns the distinction as “New York’s premiere Japanese cinema event,” every title never before screened in New York City, “unspooling across a kaleidoscopic range of taste and aesthetics” (The Wall Street Journal). Boasting 1 World Premiere, 3 International Premieres, 7 North American Premieres, 6 U.S. Premieres, 5 East Coast Premieres, and 4 New York Premieres, every day of the festival provides a must-see event for the NYC cinephile, follower of Japanese art and culture, and devoted world cinema aficionado alike.
    [Show full text]
  • The Contemporary American Horror Film Remake, 2003-2013
    RE-ANIMATED: THE CONTEMPORARY AMERICAN HORROR FILM REMAKE, 2003-2013 Thesis submitted by Laura Mee In partial fulfilment of the requirements for the award of Doctor of Philosophy De Montfort University, March 2014 Abstract This doctoral thesis is a study of American horror remakes produced in the years 2003-2013, and it represents a significant academic intervention into an understanding of the horror remaking trend. It addresses the remaking process as one of adaptation, examines the remakes as texts in their own right, and situates them within key cultural, industry and reception contexts. It also shows how remakes have contributed to the horror genre’s evolution over the last decade, despite their frequent denigration by critics and scholars. Chapter One introduces the topic, and sets out the context, scope and approach of the work. Chapter Two reviews the key literature which informs this study, considering studies in adaptation, remaking, horror remakes specifically, and the genre more broadly. Chapter Three explores broad theoretical questions surrounding the remake’s position in a wider culture of cinematic recycling and repetition, and issues of fidelity and taxonomy. Chapter Four examines the ‘reboots’ of one key production company, exploring how changes are made across versions even as promotion relies on nostalgic connections with the originals. Chapter Five discusses a diverse range of slasher film remakes to show how they represent variety and contribute to genre development. Chapter Six considers socio-political themes in 1970s horror films and their contemporary post-9/11 remakes, and Chapter Seven focuses on gender representation and recent genre trends in the rape-revenge remake.
    [Show full text]
  • Open Final Version of Thesis.Pdf
    The Pennsylvania State University The Graduate School College of Communications HORROR GLOBAL, HORROR LOCAL: A CROSS-CULTURAL ANALYSIS OF TORTURE PORN, J-HORROR, AND GIALLO AS CONTEMPORARY MANIFESTATIONS OF THE HORROR GENRE A Thesis in Media Studies by Lauren J. DeCarvalho © 2009 Lauren J. DeCarvalho Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts August 2009 ii The thesis of Lauren J. DeCarvalho was reviewed and approved* by the following: John S. Nichols Professor of Communications Associate Dean for Graduate Studies and Research Matthew F. Jordan Assistant Professor of Media Studies Thesis Advisor Marie C. Hardin Associate Professor of Journalism Jeanne L. Hall Associate Professor of Film and Video *Signatures are on file in the Graduate School. iii ABSTRACT The overbearing effects of Hollywood continue to blur the lines of distinction between national and global cinema, leaving scholars to wonder whether the latter type of cinema has since trumped the former. This thesis explores the depths of this perplexity by looking at the cultural differences in post-1990s horror films from three countries: the United States, Japan, and Italy. Scholarship on women in horror films continues to focus on the feminist sensitivities, without the slightest regard for possible cultural specificities, within the horror genre. This, in turn, often collapses the study of women in horror films into a transnational genre, thereby contributing to the perception of a dominant global cinema. Therefore, it is the aim of the author to look at three culturally-specific subgenres of the horror film to explore their differences and similarities.
    [Show full text]
  • Clanking, Rattling, and Screaming in the Texas Chain Saw Massacre (Tobe Hooper, 1974)
    Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 22 | 2021 Unheard Possibilities: Reappraising Classical Film Music Scoring and Analysis Southern Discomfort: Clanking, Rattling, and Screaming in The Texas Chain Saw Massacre (Tobe Hooper, 1974) Christophe Chambost Electronic version URL: http://journals.openedition.org/miranda/36614 DOI: 10.4000/miranda.36614 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Christophe Chambost, “Southern Discomfort: Clanking, Rattling, and Screaming in The Texas Chain Saw Massacre (Tobe Hooper, 1974)”, Miranda [Online], 22 | 2021, Online since 02 March 2021, connection on 27 April 2021. URL: http://journals.openedition.org/miranda/36614 ; DOI: https:// doi.org/10.4000/miranda.36614 This text was automatically generated on 27 April 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Southern Discomfort: Clanking, Rattling, and Screaming in The Texas Chain Saw... 1 Southern Discomfort: Clanking, Rattling, and Screaming in The Texas Chain Saw Massacre (Tobe Hooper, 1974) Christophe Chambost Introduction 1 In his introduction of Music in the Horror Film, Neil Lerner stresses the prevailing role of sounds in horror films: sounds are essential because one cannot just cover one’s ears to make the soundtrack fully disappear (whereas two eyelids are enough to cancel an unwanted image) (VIII). Referring to Charles Darwin, the scholar also insists on the vital role of ears in the development of man as a species, and he even goes further than the biologist, asserting that a wider range of emotions can be triggered by music. Agreeing with Darwin, Lerner admits that music can awaken gentle feelings like tenderness and love, but he adds that it can also exacerbate feelings of horror, fear, and rage in films (VIII).
    [Show full text]