The Last House on the L
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
A Nigthmare on Elm Street Et Wes Craven's New
UNIVERSITÉ DU QUÉBEC À MONTRÉAL A NIGHTMARE ON ELM STREET ET WES CRA VEN 's NEW NIGHTMARE DE WES CRAVEN: SPÉCULARITÉ ET MÉTAHORREUR MÉMOIRE PRÉSENTÉ COMME EXIGENCE PARTIELLE DE LA MAÎTRISE EN ÉTUDES LITTÉRAIRES PAR AUDE WEBER-HOUDE JUrN 2009 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de ce mémoire se fait dans le respect des droits de son auteur, qui a signé le formulaire Autorisation de reproduire et de diffuser un travail de recherche de cycles supérieurs (SDU-522 - Rév.01-2006). Cette autorisation stipule que «conformément à l'article 11 du Règlement nOS des études de cycles supérieurs, [l'auteur] concède à l'Université du Québec à Montréal une licence non exclusive d'utilisation et de publication de la totalité ou d'une partie importante de [son] travail de recherche pour des fins pédagogiques et non commerciales. Plus précisément, [l'auteur] autorise l'Université du Québec à Montréal à reproduire, diffuser, prêter, distribuer ou vendre des copies de [son] travail de recherche à des fins non commerciales sur quelque support que ce soit, y compris l'Internet. Cette licence et cette autorisation n'entraînent pas une renonciation de [la] part [de l'auteur] à [ses] droits moraux ni à [ses] droits de propriété intellectuelle. Sauf entente contraire, [l'auteur] conserve la liberté de diffuser et de commercialiser ou non ce travail dont [il] possède un exemplaire.» REMERCIEMENTS Je souhaite remercier Johanne Villeneuve, professeure au département d'études littéraires de l'UQAM, de m'avoir encouragée à persévérer durant toutes les étapes de la réalisation de ce projet. -
Notes for Chapter Re-Drafts
Making Markets for Japanese Cinema: A Study of Distribution Practices for Japanese Films on DVD in the UK from 2008 to 2010 Jonathan Wroot PhD Thesis Submitted to the University of East Anglia For the qualification of PhD in Film Studies 2013 1 Making Markets for Japanese Cinema: A Study of Distribution Practices for Japanese Films on DVD in the UK from 2008 to 2010 2 Acknowledgements Thanks needed to be expressed to a number of people over the last three years – and I apologise if I forget anyone here. First of all, thank you to Rayna Denison and Keith Johnston for agreeing to oversee this research – which required reining in my enthusiasm as much as attempting to tease it out of me and turn it into coherent writing. Thanks to Mark Jancovich, who helped me get started with the PhD at UEA. A big thank you also to Andrew Kirkham and Adam Torel for doing what they do at 4Digital Asia, Third Window, and their other ventures – if they did not do it, this thesis would not exist. Also, a big thank you to my numerous other friends and family – whose support was invaluable, despite the distance between most of them and Norwich. And finally, the biggest thank you of all goes to Christina, for constantly being there with her support and encouragement. 3 Abstract The thesis will examine how DVD distribution can affect Japanese film dissemination in the UK. The media discourse concerning 4Digital Asia and Third Window proposes that this is the principal factor influencing their films’ presence in the UK from 2008 to 2010. -
The Modern Vampire (FLM020X341A) | University of Roehampton
09/26/21 The Modern Vampire (FLM020X341A) | University of Roehampton The Modern Vampire (FLM020X341A) View Online Abbott, Stacey. (2008). Celluloid vampires: life after death in the modern world. Combined Academic [distributor]. https://roe.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/roehampton-eboo ks/detail.action?docID=3443217 Almereyda, Michael. (2005). Nadja. BBC1. Amazon.co.uk: Higanjima - Escape From Vampire Island [DVD]: Dai Watanabe, Asami Mizukawa, Kôji Yamamoto, Hideo Ishiguro, Miori Takimoto, Tomohisa Yuge, Takahiro Tsutsumi, Tae-gyun Kim, CategoryAsia, CategoryCultFilms, film movie Foreign, film movie Japan Japanese, film movie South Korea Korean, Higanjima: Escape from Vampire Island (2009) ( Barefoot Dream ) ( Equinox Island ), Higanjima: Escape from Vampire Island (2009), Barefoot Dream, Equinox Island: Film & TV. (n.d.). Amazon.co.uk: The Twilight Saga: Breaking Dawn - Part 1 [DVD]: Kristen Stewart, Robert Pattinson, Taylor Lautner, Ashley Greene, Nikki Reed, Peter Facinelli, Jackson Rathbone, Elizabeth Reaser, Kellan Lutz, Michael Sheen, Bill Condon, Melissa Rosenberg, Stephenie Meyer: Film & TV. (n.d.). Amazon.co.uk: The Twilight Saga: New Moon [DVD]: Kristen Stewart, Robert Pattinson, Taylor Lautner, Ashley Greene, Nikki Reed, Peter Facinelli, Jackson Rathbone, Elizabeth Reaser, Kellan Lutz, Michael Sheen, Chris Weitz, Stephenie Meyer, Melissa Rosenberg: Film & TV. (n.d.). Amazon.co.uk: Vampire Knight - Complete Series [DVD]: Yui Horie, Mamoru Miyano, Susumu Chiba, Jun Fukuyama, Hozumi Gôda, Kiyoko Sayama: Film & TV. (n.d.). Auerbach, Nina. (1995). Our vampires, ourselves. University of Chicago Press. https://roe.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/roehampton-eboo ks/detail.action?docID=3038667 Bacon, S. (2013). Undead memory: vampires and human memory in popular culture. -
The Mise-En-Scène of a Decade: Visualizing the 70S Adam Charles Hart
REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE JOURNAL OF CROSS-CULTURAL IMAGE STUDIES IMAGINATIONS JOURNAL OF CROSS-CULTURAL IMAGE STUDIES | REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE CONTRIBUTORS ANDREW PENDAKIS Publication details, including open access policy NATHAN HOLMES ISSUE 9-1 COLIN WILLIAMSON and instructions for contributors: K. R. CORNETT FRASER MCCALLUM http://imaginations.glendon.yorku.ca THE MISE-EN-SCÈNE OF A DECADE: VISUALIZING THE 70S VISUALIZING DECADE: A OF THE MISE-EN-SCÈNE ADAM CHARLES HART KAITLIN POMERANTZ SEB ROBERTS The Mise-en-scène of a Decade: Visualizing the 70s October 29, 2018 REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE JOURNAL OF CROSS-CULTURAL IMAGE STUDIES THE MISE-EN-SCÈNE OF A DECADE: VISUALIZING THE 70S ISSUE 9-1, 2018 To cite this article: Roberts, Seb. “Strange Vices: Transgression and the Production of Difference in the Giallo.” Imaginations, vol. 9, no. 1, 2018: Web (date accessed), pp. 115-131. DOI 10.17742/IMAGE.p70s.9.1.9. To link to this article: http://dx.doi.org/10.17742/IMAGE.p70s.9.1.9 The copyright for each article belongs to the author and has been published in this journal under a Creative Commons Attribution NonCommercial NoDerivatives 3.0 license that allows others to share for non-commercial purposes the work with an acknowledgement of the work’s authorship and initial publication in this journal. The content of this article represents the author’s original work and any third-party content, either image or text, has been included under the Fair Dealing exception in the Canadian Copyright Act, or the author has provided the required publication permissions. -
Mcbastard's MAUSOLEUM: DVD Review: IGGY & the STOOGES: RAW POW
McBASTARD'S MAUSOLEUM: DVD Review: IGGY & THE STOOGES: RAW POW... Page 1 of 40 Share Report Abuse Next Blog » Create Blog Sign In McBASTARD'S MAUSOLEUM indie, horror, and cult cinema blog. SATURDAY, OCTOBER 1, 2011 CONTRIBUTORS DVD Review: IGGY & THE STOOGES: RAW POWER LIVE IN THE HANDS OF FANS (2011) Christopher Kahler McBastard Root Rot CONTACT To submit materials for review please email me for the address. I am also willing to accept reviews, articles and other content for the site. email: [email protected] twitter: http://twitter.com/mcbastard2000 facebook: http://www.facebook.com/pages/mcBast ards-mausoleum/169440663073382 tumblr: http://mcbastardsmausoleum.tumblr.co m/ IGGY AND THE STOOGES digg: http://digg.com/mcbastard2000 RAW POWER LIVE IN THE HANDS OF FANS (2010) stumbleupon: http://www.stumbleupon.com/stumbler/ LABEL: MVD Visual McBastard2000/reviews/ REGION CODE: 1 NTSC RATING: Unrated THE CRYPT DURATION: 81 mins AUDIO:Dolby Digital 2.0. 51 ▼ 2011 (262) VIDEO: 16:9 Widescreen ▼ October (18) DIRECTOR:Joey Carry Extreme Horror Film THE BUNNY GAME Banned in the U... Filmed towards the end of their 2010 reunion tour RAW POWER LIVE IN THE HANDS Blu-ray Review: HALLOWEEN: THE OF FANS captures Iggy and the Stooges blistering live performance of the classic CURSE OF MICHAEL MY... RAW POWER (1973) album at the All Tomorrow's Parties Festival in Monticello, New Schlocky B-Movie York. The performance was filmed by six contestants who entered an online contest Anthology 'CHILLERAMA' on Blu- for a chance to both meet and document the band at this very performance. The ray.. -
Whose Canon Is It Anyway? Subcultural Capital, Cultural Distinction and Value in High Art and Low Culture Film Distribution
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by STORE - Staffordshire Online Repository Whose Canon is it Anyway? Subcultural Capital, Cultural Distinction and Value in High Art and Low Culture Film Distribution Mark McKenna According to figures from the British Film Institute (BFI), the UK has the second largest filmed entertainment market in the world, coming second only to the USA,1 worth an estimated £3.8 billion (2016, p. 2). How we choose to navigate the sheer volume of films available to us is significantly affected by the circulation of discourse, often related to its visibility, as well as notions of taste. Jonathan Rosenbaum suggests that we can observe a segmentation of the discourse surrounding film—where the mainstream, the industry and academia all reinforce and promote their own agendas (2000). Historically, early film criticism was concerned with legitimising these texts and their study, consequently attempting to align film analysis with that of broader historical approaches established in the analysis of the fine arts. These early valorisations about what might constitute the highest quality representations, and the subsequent forma- tion of the film studies discipline, led to the formation of the first canons. Paul Schrader argues that by definition, the film canon is ‘based upon criteria that transcend taste’ (2006, p. 34). Whether a film appeals to you personally or whether the film was hugely popular are inconsequential considerations, instead, every effort should be made to separate out ‘per- sonal favourites from those movies that artistically defined film history’ (ibid.). Within this separation lies what Janet Staiger has referred to as the ‘politics of inclusion and exclusion’, where ‘some films are moved to the center of attention; others, to the margins’ (1985, p. -
Zombies: New Media, Cinema, and Performance
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title 21st Century Zombies: New Media, Cinema, and Performance Permalink https://escholarship.org/uc/item/9hq1z1t7 Author Taylor, Joanne Marie Publication Date 2011 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California 21st Century Zombies: New Media, Cinema, and Performance By Joanne Marie Taylor A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Performance Studies and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Peter Glazer, Chair Professor Brandi Wilkins Catanese Professor Kristen Whissel Fall 2011 21st Century Zombies: New Media, Cinema, and Performance © 2011 by Joanne Marie Taylor Abstract 21st Century Zombies: New Media, Cinema, and Performance by Joanne Marie Taylor Doctor of Philosophy in Performance Studies and a Designated Emphasis in Film Studies University of California, Berkeley Professor Peter Glazer, Chair This project began with a desire to define and articulate what I have termed cinematic performance, which itself emerged from an examination of how liveness, as a privileged performance studies concept, functions in the 21st century. Given the relative youth of the discipline, performance studies has remained steadfast in delimiting its objects as those that are live—shared air performance—and not bound by textuality; only recently has the discipline considered the mediated, but still solely within the circumscription of shared air performance. The cinema, as cultural object, permeates our lives—it is pervasive and ubiquitous—it sets the bar for quality acting, and shapes our expectations and ideologies. -
Ow Video Arrow Video Arro Arrow Video Arrow Video Arrow Vid Arrow Video Arrow Video Arrow Video Arrow Video
ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO WES CRAVEN’S ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO CONTENTS 4 Cast and Crew 7 The Hills Have Heart by Amanda Reyes 21 On The Set: The Hills Have Eyes II by Johnny Legend 34 About the Restoration ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO 2 3 ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO CAST Robert Houston Bobby John Bloom The Reaper Tamara Stafford Cass Kevin Spirtas (as Kevin Blair) Roy John Laughlin Hulk Willard E. Pugh Foster Peter Frechette Harry Colleen Riley Jane Penny Johnson Jerald Sue Janus Blythe Rachel/Ruby Edith Fellows Mrs. Wilson Michael Berryman Pluto David Nichols The Psychiatrist ARROW VIDEO ARROW VIDEO ARROWCREW VIDEO Written and Directed by Wes Craven Produced by Barry Cahn, Peter Locke Associate Producer Jonathan Debin Edited by Richard Bracken ARROW VIDEO ARROW VIDEODirector of ARROWPhotography David Lewis VIDEO Music by Harry Manfredini Production Designer Dominick Bruno Unit Production Manager John Callas ARROW VIDEO ARROWCostume VIDEO Designer Taryn De ARROW Chellis VIDEO 4 5 ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO THE HILLS HAVE HEART by Amanda Reyes In an interview with Wes Craven for Film Quarterly, journalist Christopher Sharrett described Craven as part of the “New Wave” of horror filmmakers who took over theaters and drive-ins in the 1970s. -
Star Channels Guide, Oct. 29-Nov. 4
OCTOBER 29 - NOVEMBER 4, 2017 staradvertiser.com HOLEY HUMOR Arthur (Judd Hirsch) and Franco (Jermaine Fowler) prepare to take on gentrifi cation, corporations and trendy food trucks in the humorously delicious sophomore season of Superior Donuts. Premieres Monday, Oct. 30, on CBS. Join host, Lyla Berg as she sits down with guests Meet the NEW SHOW WEDNESDAY! who share their work on moving our community forward. people SPECIAL GUESTS INCLUDE: and places Nate Gyotoku, Director of Sustainability Initiatives, KUPU that make Jerri Chong, President, Ronald McDonald House Charities of Hawaii 1st & 3rd Wednesday Desoto Brown, Historian, Bishop Museum Hawai‘i olelo.org of the Month, 6:30 pm Shari Chang, CEO of Girl Scouts of Hawaii Channel 53 special. Representative Jarrett Keohokalole ON THE COVER | SUPERIOR DONUTS Tasty yet topical Deliciously real laughs in alongside the shop as it continues to draw new customers with healthier breakfast alterna- faces in, while never losing sight of its regulars. tives, keeping in mind social and ethical prin- season 2 of ‘Superior Donuts’ The quick wit and bold approach to dis- ciples. The discussions surrounding millennials cussing modern issues make it unsurprising aren’t new for “Superior Donuts,” but the ad- By Kat Mulligan that the series is back for a second season. dition of Sofia provides yet another outlet for TV Media “Superior Donuts” never shies away from Arthur’s reluctance to change, as her healthy confronting topics such as gentrification, the alternatives food truck threatens to take away ong before the trends of grandes, mac- corporation creep into small neighborhoods some of the fresh clientele Franco and Arthur chiatos and pumpkin spice lattes, neigh- and the death of the small business owner. -
Disturbia 1 the House Down the Street: the Suburban Gothic In
Notes Introduction: Welcome to Disturbia 1. Siddons, p.212. 2. Clapson, p.2. 3. Beuka, p.23. 4. Clapson, p.14. 5. Chafe, p.111. 6. Ibid., p.120. 7. Patterson, p.331. 8. Rome, p.16. 9. Patterson, pp.336–8. 10. Keats cited in Donaldson, p.7. 11. Keats, p.7. 12. Donaldson, p.122. 13. Donaldson, The Suburban Myth (1969). 14. Cited in Garreau, p.268. 15. Kenneth Jackson, 1985, pp.244–5. 16. Fiedler, p.144. 17. Matheson, Stir of Echoes, p.106. 18. Clapson; Beuka, p.1. 1 The House Down the Street: The Suburban Gothic in Shirley Jackson and Richard Matheson 1. Joshi, p.63. Indeed, King’s 1979 novel Salem’s Lot – in which a European vampire invades small town Maine – vigorously and effectively dramatises this notion, as do many of his subsequent narratives. 2. Garreau, p.267. 3. Skal, p.201. 4. Dziemianowicz. 5. Cover notes, Richard Matheson, I Am Legend, (1954: 1999). 6. Jancovich, p.131. 7. Friedman, p.132. 8. Hereafter referred to as Road. 9. Friedman, p.132. 10. Hall, Joan Wylie, in Murphy, 2005, pp.23–34. 11. Ibid., p.236. 12. Oppenheimer, p.16. 13. Mumford, p.451. 14. Donaldson, p.24. 15. Clapson, p.1. 201 202 Notes 16. Ibid., p.22. 17. Shirley Jackson, The Road Through the Wall, p.5. 18. Friedman, p.79. 19. Shirley Jackson, Road, p.5. 20. Anti-Semitism in a suburban setting also plays a part in Anne Rivers Siddon’s The House Next Door and, possibly, in Richard Matheson’s I Am Legend (in which the notably Aryan hero fends off his vampiric next-door neighbour with a copy of the Torah). -
Craven Rétrospective 29 JUIN -31 JUILLET
pierre richard PROGRAMMATION Wes Craven rétrospective 29 JUIN -31 JUILLET 65 Scream CAUCHEMARS MODERNES Découvert, en 1972, avec un des films les plus éprouvants de son temps, La Dernière Maison sur la gauche, Wes Craven (1939-2015) s’est fait un nom en signant quelques grands films relevant du genre le plus passionnant de la production hollywoodien des années 1970 et 1980 : le cinéma d’horreur. On lui doit des œuvres terrifiantes tout autant que subtiles, traçant de la famille américaine un portrait au vitriol, investissant la réalité par d‘intenses cauchemars réfléchissant, au terme d’une mise en abime post moderne, sur l’évolution et la signification des conventions qu’il manipule avec un talent singulier (la série des Scream). Wes Craven contribua à engendrer cette vague d’épouvante cinémato- graphique qui bouleversa insidieusement les mises en scène tradition- nelles de la peur par Hollywood à partir du milieu des années 1970. Il aura, en effet, inventé avec d’autres les termes d’une nouvelle conception de la terreur, mouvement dont il a, en toute lucidité, pensé les signifi- cations. « [Le film d’horreur] était un genre qui me convenait parfai- tement. C’était le genre le plus libre et le plus sauvage qu’on pouvait imaginer » dira-t-il1. Il précisera que son inspiration lui était venue de la vision de nombreux documentaires sur la seconde guerre mondiale et sur l’intervention au Vietnam. Son premier long métrage, choc cinéma- tographique, véritable scandale filmique, annonçait la fin d’une fausse 1 Entretien avec Wes Craven par Thierry Jousse et Nicolas Saada, Cahiers du cinéma, n°463, janvier 1993, p.41. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly fi'om the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms international A Bell & Howell Information Company 300 Nortfi Zeeb Road. Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9211203 Horror in the 1980’s: A comparative analysis of violent content in independent studio and major studio horror movies Porco, James Franklin, Ph.D.