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The Coming of Sound Film and the Origins of the Horror Genre
UNCANNY BODIES UNCANNY BODIES THE COMING OF SOUND FILM AND THE ORIGINS OF THE HORROR GENRE Robert Spadoni UNIVERSITY OF CALIFORNIA PRESS BERKELEY LOS ANGELES LONDON University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more informa- tion, visit www.ucpress.edu. A previous version of chapter 1 appeared as “The Uncanny Body of Early Sound Film” in The Velvet Light Trap 51 (Spring 2003): 4–16. Copyright © 2003 by the University of Texas Press. All rights reserved. The cartoon on page 122 is © The New Yorker Collection 1999 Danny Shanahan from cartoonbank.com. All rights reserved. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2007 by The Regents of the University of California Library of Congress Cataloging-in-Publication Data Spadoni, Robert. Uncanny bodies : the coming of sound film and the origins of the horror genre / Robert Spadoni. p. cm. Includes bibliographical references and index. isbn 978-0-520-25121-2 (cloth : alk. paper) isbn 978-0-520-25122-9 (pbk. : alk. paper) 1. Horror films—United States—History and criticism. 2. Sound motion pictures—United States— History and criticism. I. Title. pn1995.9.h6s66 2007 791.43'6164—dc22 2006029088 Manufactured in the United States -
Master Syllabi
PELLISSIPPI STATE TECHNICAL COMMUNITY COLLEGE MASTER SYLLABUS INTRODUCTION TO FILM STUDIES HUM 2810 Class Hours: 3.0 Credit Hours: 3.0 Laboratory Hours: 0.0 Date Revised: Spring 03 Catalog Course Description: An overview of film history using selected world cinema feature films. Basic elements of film expression for understanding and analyzing narrative cinema. Some research is required. Entry Level Standards: Students must be able to read and write at the college level. Prerequisites: None Corequisites: None Textbook(s) and Other Reference Materials Basic to the Course: Text: Understanding Movies Films: in Media Center I. Week/Unit/Topic Basis: Week Topic 1 Note: Different film genres may be studied each semester. The following schedule outlines the classic mystery film genre. Introduction to course and syllabus - Best 100 films- Why study film? Various approaches to film study - Detective/mystery/crime genre in films; Technological factors behind film - Lumiere films (1895) - Melies film (1905); Homework: Read Understanding Movies, pages xi-17 Discuss Film Classification and Shots; Discuss factors in "Formalist Analysis of Classic Film Style "(handout); Screening: Musketeers of Pig Alley (1912, D.W. Griffith) 18 min.; Homework: Read pages 133-154, "Editing" 2 Discuss Continuity and Cutting; "Hollywood Behind the Badge" (police, crime, mystery genre films); Schedule a research paper; Homework: Read 112-123, "The Moving Camera" Oral research report (D.W. Griffith, Buster Keaton, Charlie Chapman); Discuss 7 Moving Camera Shots, etc.; Screening: -
Teaching Speculative Fiction in College: a Pedagogy for Making English Studies Relevant
Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English Summer 8-7-2012 Teaching Speculative Fiction in College: A Pedagogy for Making English Studies Relevant James H. Shimkus Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Recommended Citation Shimkus, James H., "Teaching Speculative Fiction in College: A Pedagogy for Making English Studies Relevant." Dissertation, Georgia State University, 2012. https://scholarworks.gsu.edu/english_diss/95 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. TEACHING SPECULATIVE FICTION IN COLLEGE: A PEDAGOGY FOR MAKING ENGLISH STUDIES RELEVANT by JAMES HAMMOND SHIMKUS Under the Direction of Dr. Elizabeth Burmester ABSTRACT Speculative fiction (science fiction, fantasy, and horror) has steadily gained popularity both in culture and as a subject for study in college. While many helpful resources on teaching a particular genre or teaching particular texts within a genre exist, college teachers who have not previously taught science fiction, fantasy, or horror will benefit from a broader pedagogical overview of speculative fiction, and that is what this resource provides. Teachers who have previously taught speculative fiction may also benefit from the selection of alternative texts presented here. This resource includes an argument for the consideration of more speculative fiction in college English classes, whether in composition, literature, or creative writing, as well as overviews of the main theoretical discussions and definitions of each genre. -
Progress Report #1
WORLD HORROR CONVENTION 2013– PROGRESS REPORT #1 June 13 through June 16 At the Hotel Monteleone in New Orleans WORLD HORROR CONVENTION 2013 – PROGRESS REPORT #1 This report is sent via email to registered members of the Bram Stoker Awards® Weekend 2013, incorporating World Horror Convention (WHC), and specifically deals with WHC matters. Please read through to the end, as we particularly need your vote for WHC Grandmaster. Any questions should be directed to Rocky Wood via [email protected] . COMMITTEE WEBSITE We have made enormous progress on the overall We have established a lively and regularly Convention. An Organizing Committee, Chaired by updated website at Greg Herren is hard at work and has already http://www.stokers2013.org/. As you delivered on many areas.Rocky Wood is Chairing registered through that website we know the World Horror Convention component. you know about it—but keep visiting as it is regularly updated. The Organizing Committee (double-click to send an email or head over to the website at http://www.stokers2013.org/) is: Hotel Details Chair/Programming—Greg Herren WHC Chair / Guests / Programming— We have booked the Hotel Monteleone, Rocky Wood an iconic literary hotel in the French Pitch Sessions—R J Cavender Quarter of New Orleans, which is said to Party Programming—Boyd Harris be haunted. We have numerous function Social Media—Anita Siraki rooms booked for the varying Website—Rick Pickman programming areas. Discounted hotel Dealers Room—John Prescott rooms are available until one month Art Show—Chad Savage before the Convention only. It is very Editor, Souvenir Book—Norman important you understand this condition Rubinstein —if you book after that day you will not HWA Administrator—Brad Hodson get a discounted rate at the Convention Ex-Officio— Lisa Morton Hotel. -
Cinema / Art / Café
0116 242 2800 BOX OFFICE PHOENIX.ORG.UK BOOK ONLINE WHAT’S ON BOX OFFICE PHOENIX.ORG.UK MAY 2018 0116 242 2800 BAR É Available as Midweek Matinees – see p15 CINEMA / ART / CAF CINEMA / ART BOX OFFICE 0116 242 2800 FILMS SHORT PHOENIX.ORG.UK P. 12 COURSES Made possible with the support of P. 10 STAGE ON SCREEN EDIE Fri 25 May – Thu 7 Jun P. 8 Phoenix is a registered charity, No 701078 It’s been a long haul this winter, Our Film School course – an 8-week ART & with early April seeming more practical guide to filmmaking – starts on DIGITAL like late November (was more 10 May, and we also dip into the life and fog really necessary?) but finally work of Pedro Almodovar (p10). Book CULTURE online or at Box Office. FAMILY P. 6 it might be possible for us to cast FUN off our thermals and dig out our Film-wise, highlights include the T-shirts. Hurrah. ludicrously watchable Love Simon P. 4 (p13), which is garnering rave reviews With a third of the year behind us, May worldwide; Ian McEwan adaptation COMING NEXT MONTH brings with it many delights – warbling On Chesil Beach (p16) starring Saoirse warblers, bumbling bees, half-term hols… Ronan; gripping psychological thriller and the Spark Festival, when we open our Beast (p14), which is causing a storm on digital playground filled with free creative the international festival circuit; and the technology treats for families (p4). sublime My Golden Days (p16) – a true SOLO: A STAR WARS STORY We’re exploring artificial intelligence at the Gallic gem. -
244 5 Avenue, Suite 2767, New York, NY
244 5th Avenue, Suite 2767, New York, NY 10001 www.horror.org ____________________________________________________________________________________ President Samhain Publishing announced as Platinum Sponsor of the Bram Stoker Rocky Wood Awards® Banquet in May 2015 Vice President Lisa Morton The Horror Writers Association (HWA) is pleased to announce Samhain Publishing as the Platinum Sponsor for the 2014 Bram Stoker Awards® Banquet. The Banquet is part Secretary th Vince Liaguno of the Bram Stoker Awards® Weekend and 25 World Horror Convention 2015 in Atlanta, Georgia and will be held on 10 May 2014, honoring works published during Treasurer Les Klinger the calendar year 2014. Full details are at the dedicated website: http://www.whc2015.org Board of Trustees Marge Simon (Chairperson) Don D’Auria, executive editor for Samhain Horror, and Tanya Cowman will be Linda Addison representing the publisher. “We’re excited to renew our sponsorship of the iconic Ron Breznay Bram Stoker Awards Banquet for a fourth year. These are prestigious awards and we Ellen Datlow J G Faherty are proud to support the efforts of the Horror Writers Association in honoring Deborah Leblanc outstanding horror writing,” D'Auria said. Launched in 2011, Samhain Horror Joe McKinney (www.samhainhorror.com) publishes both established horror authors and the genre's most compelling new voices. HWA President Rocky Wood welcomed Samhain Publishing’s support: “This continuing generous commitment by Samhain Publishing is greatly appreciated by HWA and I am sure by all our members. Samhain continues to be a highly professional and innovative horror publisher, releasing a string of acclaimed books. We look forward to welcoming Don D’Auria and his team at the Banquet. -
World Horror Convention 2013 – Progress Report #4
WORLD HORROR CONVENTION 2013 – PROGRESS REPORT #4 This report is sent via email to registered members of the Bram Stoker Awards® Weekend 2013, incorporating World Horror Convention (WHC) and specifically deals with WHC matters. Any questions should be directed to Rocky Wood via [email protected] . IN THIS PROGRESS REPORT: Committee Contacts Kaffeeklatches – Important Information Hotel Details Dealers Room Art Show Bram Stoker Awards® Banquet tickets HWA Lifetime Achievement Award Winners MASSIVE PROGRAMMING UPDATE (at the end of this Report) CONVENTION PROGRESS/COMMITTEE CONTACTS We have made enormous progress on the overall Convention. An Organizing Committee, Chaired by Greg Herren, continues its work. Rocky Wood is Chairing the World Horror Convention component. For instance, the Souvenir Book is complete and ready for final edit/proofing and then, the printer. Programming is almost entirely in place (we are just filling the last Panel slots), Reading applications are closed and announcement will be made about who has been selected, the Dealers Room is sold out. All arrangements with the Hotel are in place, etc. Plenty of time now for last minute panics! The Organizing Committee (double-click to send an email or head over to the website at http://www.stokers2013.org/) is: Chair/Programming - Greg Herren WHC Chair/Guests/Programming - Rocky Wood Pitch Sessions - R J Cavender Party Programming - Boyd Harris Social Media - Anita Siraki Website - Rick Pickman Dealers Room - John Prescott Art Show - Chad Savage Editor, Souvenir Book - Norman Rubenstein HWA Administrator - Brad Hodson Guest Liaison – Nancy Kalanta Ex-Officio – Lisa Morton Our website is at http://www.stokers2013.org/ and is updated regularly. -
James GUNN Not Enough
Spring 2013 LonestarCon 3 Progress rePort 4 The fourth Progress Report for LoneStarCon 3, the 71st Worldcon, to be held August 29–September 2, 2013, in San Antonio, Texas Welcome to the New Frontier A bid for the 73rd World Science Fiction Convention Spokane, Washington August 19-23, 2015 Let's bring the Worldcon to the Northwest! We want to share with the rest of the world · a huge active local and regional communities of fans, authors, artists, filkers, costumers, gamers, otaku, and more creative folks · in the heart of a beautiful, thriving city with hundreds of restaurants nearby, and cultural and outdoor activities (with perfect weather in August) · at a 21st century facility with a Broadway-quality theater for events. Find out more at spokanein2015.org. The Spokane in 2015 Worldcon Bid is a project of SWOC. Letter From the Chair Howdy y’all! Welcome to Progress Report 4. My name is Randall Shepherd, and I am the new significance of being tasked with Chair for LoneStarCon 3. selecting not only the 2015 Worldcon I’m writing this the day after the final ballot for the Hugo Awards was announced. host city, but also the site of the 2014 The process was rather like watching a duck gliding smoothly over the surface of a NASFiC. If you find you can’t attend lake… then you realize there’s a lot of furious paddling going on underneath! in person, this is a good way to still participate and show your support for There were so many folks who helped to make this Hugo ballot announcement Worldcon. -
Silent Horror Cinema: 1890-1932 / Art 497.002 Fall 2011 Credits: 3
SFA School of Art Silent Horror Cinema: 1890-1932 / Art 497.002 Fall 2011 Credits: 3 Instructor: Ron J. King Course Time & Location: 2:00-5:00 F /Rm. #106 Office: Art Shop / Upper Bldg. Office Hours: 8-5 Shop / M-F Office Phone: 468-4416 Class Web Blog: www.nitratehorrors.blogspot.com Email: [email protected] Textbook: "Chronicles of Terror: Silent Screams" Steve Haberman, Luminary Press, ISBN #: 1-887664-39-4 Prerequisites: I. Course Description: This lecture course is an introductory overview of the development of the horror film in modern cinema. We will trace it's roots through it's earliest beginnings, analyzing the artistic, social and political ramifications of the silent era of "golden age cinema", up through the earliest sound-based efforts of the "talkie" motion picture. Students will be given information that links many of the surrounding conditions that contributed to what we consider today to be a viable genre of film that once began as the "genre-that-never-existed". The goal of this course is to pique an interest in not only the historical, artistic and literate merits of a subject which students can relate to, but to create an understanding of the conditions surrounding the subject that will then offer a larger “world view”. By understanding the bigger picture through interconnections with the art movements that ran parallel to the phenomenon of early cinema, students can start to investigate and question the many related subjects and conditions that effected the silent film genre. II. Intended Learning Outcomes/Goals/Objectives (Program/Student Learning Outcomes): We will study, through lecture, interaction and viewing of the films themselves, what established the notions of the horror film and what possible explanations may exist as to why this genre came into being, thus influencing our modern perceptions of not only cinema, but society and our perceptions of reality. -
May 2015 NASFA Shuttle
Te Shutle May 2015 The Next NASFA Meeting is 6:30P Saturday 16 May 2015 at the Regular Location Concom: 3P Saturday 16 May 2015, at the Church meeting days, at least until we get close enough to the con to d Oyez, Oyez d require going to two meetings a month. Stay tuned, though, and ! consider all meeting dates past this month as tentative until The next NASFA Meeting will be 6:30P Saturday 16 May confirmed. 2015, at the regular meeting location—the Madison campus of FUTURE PROGRAMS AND ATMMs Willowbrook Baptist Church (old Wilson Lumber Company Future programs for 2015 are TBD at press time. We need building) at 7105 Highway 72W (aka University Drive). ATMM volunteers all remaining months in 2015 except possi- Please see the map at right if you need help finding it. bly November. PLEASE NOTE that per a vote at the October 2014 meet- FUTURE CLUB MEETING DATES ing, the start of the Business Meeting has changed from 6P to All but one remaining 2015 NASFA meeting dates are cur- 6:30P. Programs are still scheduled to start at 7P. MAY PROGRAM The May program is TBD; Judy is working on something but did not have a confirmation at press time. Road Jeff Kroger MAY ATMM The host for the May After-The-Meeting Meeting is TBD at press time. We can assume the ATMM will likely be at the US 72W church and that the usual rules will apply—that is, please bring (aka University Drive) food to share and your favorite drink. -
Erican Historical Association, Washington D.C
DOCUMENT RESUME ED 310 025 SO 020 106 AUTHOR O'Connor, John E. TITLE Teaching History with Film and Television. Discussions on Teaching, Number 2. INSTITUTION American Historical Association, Washington D.C. SPANS AGENCY National Endowment for the Humanities (NFAH), Washington, D.C. REPORT NO ISBN-0-87229-040-9 PUB DATE 87 NOTE 94p.; Contains photographs that may not reproduce clearly. AVAILABLE FROMAmerican Historical Association, 400 4 Street, 3E, Washington, DC 20003 ($3.50 plus $1.00 for shipping and handling). PUB TYPE Guides - Classroom Use - Guides (For Teachers) (052) EDRS PRICE MF01 Plus Postage. PC Not Available from EDRS. DESCRIPTORS *Critical Thinking; Curriculum Enrichment; *Films; *History Instruction; Secondary Education; Social Studies; *Television; Television Viewing; Videotape Recordings; *Visual Literacy IDENTIFIERS Film Aesthetics; *Film History; *Film Theory ABSTRACT History teachers should be less concerned with having students try to re-experience the past and more concerned with teaching them how to learn from the study of it. Keeping this in mind, teachers should integrate more critical film and television analysis into their history classes, but not in place of reading or at the expense of traditional approaches. Teachers must show students how to engage, rather than suspend, their critical faculties when the projector or television monitor is turned on. The first major section of this book, "Analyzing a Moving Image as a Historical Document," discusses the two stages in the analysis of a moving image document: (1) a general analysis of content, production, and reception; and (2) the study of the moving image document as a representation of history, as evidence for social and cultural history, as evidence for historical fact, or as evidence for the history of film and television. -
LONDON 2019 Estates and Backlist
LONDON 2019 Estates and Backlist CONTENTS NEW TO PFD p. 3 - Beryl Gilroy - William Harrington - Samantha Howe - Irene Northan NEW RELEASES AND INTERNATIONAL PHENOMENA p. 11 - Sabina Brennan - Virginia Cowles - Graham Masterton - Rebecca West ANNIVERSARIES p. 20 - Ivy Compton-Burnett - Edmund Crispin - Desiree Meyler - Bernice Rubens - Georges Simenon MOVIE AND TV ADAPTATION p. 30 - CS Forester - Mervyn Peake - Nicolas Freeling - John Timpson SPIES, KILLERS AND INVESTIGATORS p. 38 - Margery Allingham - Eric Ambler - George Bellairs - Nicholas Blake - Richard Hull SAGAS AND ROMANCES p. 49 - Beryl Kingstone - Anne Melville - Jean Saunders Please refer to our previous rights guides for the following contents: FBF18: Female Pioneer Writers, Horror, Royal History, Brain Health NEW TO PFD NEW TO PFD BERYL GILROY Beryl Agatha Gilroy (1924—2001) was a pioneering teacher and novelist, and one of Britain's most significant post-war Caribbean migrants, part of the so-called "Windrush generation". Born in what was then British Guiana, she moved to the United Kingdom in the 1950s . Although Gilroy was a qualified teacher, racism prevented her getting a post for some time, and she had to work as a washer, a factory clerk and maid. Eventually she was employed and became the first Black headteacher in London. Her experiences of those years are told in her unconventional autobiography Black Teacher. Gilroy's creative writing began much earlier, in childhood, as a teacher for children and then in the 1960s when she began writing what was later published In Praise of Love and Children, a rare account of a woman’s experience of migration from the Caribbean.